KARACHI: It was Friday, July 6, 2012. Ali, a chirographer, was enjoying morning tea on the balcony of his apartment when he spotted a group of men loading a truck with boxes.
This was not an unusual sight since he lived near a warehouse where this was a routine activity. However, Ali realized that something was not right when a worker dropped a box and it broke open: The men were moving ancient artifacts, and the accident had caused a degree of panic among them.
Ali quickly called a friend at Sindh Government’s Culture Department who instructed him to immediately inform the police. The truck had left by the time the police arrived but they managed to chase it down and seize the valuables, which had been illegally transported.
More than five years after the incident, Ali recounted the experience to Arab News. He also recalled how the police had arrested the driver and the owner of the warehouse. However, the area’s current Station House Officer (SHO), Nasir Mahmood, says he does not have any details of the case. An official of the Culture Department told Arab News on condition of anonymity that the warehouse belonged to a former inspector general of police and the consignment was booked by a well-known Lahore-based business figure.
In 2012, the former SHO of the area, Javed Brohi, had told the media that the artifacts were stolen from the historically rich Khyber Pakhtunkhwa (KP) province and were transported to Sialkot. He said that his department had received a tip-off from intelligence agencies, presumably to protect the identity of his real source. But his account had also raised a question: Why were the artifacts brought to Karachi if their real destination was Sialkot, an urban center in the province of Punjab that is relatively closer to KP?
National Museum of Pakistan Director Muhammad Shah Bukhari says that the smugglers might have wanted to transport the relics to Europe via Dubai.
“It is possible that they found it difficult to get clearance at the Karachi port,” he said. “Sialkot has its own dry port, and they might have found someone to help them over there.”
According to an official document obtained by Arab News and authenticated by Dr. Ghani-ur- Rahman, director of Taxila Institute of Asian Civilizations, the number of the relics seized was 319. The museum authorities believed that many of them were excavated from the archaeological sites of Gandhara. Most of these artifacts contained images of Buddhist eschatology. Despite being at the National Museum of Pakistan for more than five years, however, these historical objects are yet to be displayed to the public.
“We are expanding our building,” Bukhari said. “Once it is done, we will dedicate two galleries to KP’s heritage.”
Asked why these relics should not be returned to the province of their origin, he said that the National Museum had the authority to display the heritage of any federating unit.
“Apart from that,” he added, “no one from KP has officially contacted us for them. Once they do that, we will respond with our claim over these artifacts, relics and sculptures.”
When Arab News contacted KP’s Director of Archaeology Dr. Abdul Samad, he claimed that the relics were fake.
“They are not original,” he said. “There is no need for us to fight over fake objects that were made in a Karachi factory. Why should we bring them to KP?”
Samad said that people of Sindh rarely visit the Peshawar Museum. “This will give them a glimpse into our province’s rich heritage,” he said. “Ultimately, our province will get some promotion.”
KP’s former minister for sports, tourism and culture, Aqil Shah, had held a news conference shortly after the relics were seized in Karachi, demanding that Sindh hand back the riches of Pakhtunkhwa to his administration.
“The artifacts belong to KP,” he said while talking to Arab News on telephone, “but the current administration of the province is not willing to do much about it.”
However, Dr. Samad criticized Shah for making such claims. He said that Shah had held the news conference without making verifications.
“Do you think the KP government would have remained silent if these objects were original,” he asked. “Do you think that the museum in Karachi would have kept them out in the open if they were genuine items?”
While the National Museum of Pakistan has displayed some of the seized objects in its lawn, Shah insists that his successor should take up the issue with Sindh’s provincial administration.
Meanwhile, Dr. Ghani-ur-Rehman, an expert in the field, has weighed in with Dr. Samad over the issue.
“Majority of these sculptural pieces seems to be fake,” he said. “The only ones that may be original or copies of originals are the broken ones.”
When Arab News asked the director of Pakistan National Museum why he was interested in displaying counterfeit objects at his facility, he said: “Our experts have confirmed that 161 items are genuine, though a majority of sculptures are not original.”
He added: “The museum wants to display both original and counterfeit objects along with other confiscated artifacts in its galleries. However, we have a system and can never declare a counterfeit object as a genuine relic.”
Real or fake: National Museum of Pakistan plans to display Pakhtunkhwa’s cultural riches
Real or fake: National Museum of Pakistan plans to display Pakhtunkhwa’s cultural riches
Artist William Brooks seeks fresh inspiration in Diriyah Art Futures program
- Hub picks 12 artists for inaugural scheme
DUBAI: Saudi creative hub Diriyah Art Futures has handpicked 12 artists for its inaugural Emerging New Media Artists Program this winter, with Welsh talent William Brooks making the cut.
Set to run for one year, the newly launched program offers access to professional equipment and facilities, a production budget, learning experiences with international guest professors specializing in new media art, and mentorships.
Brooks spoke to Arab News about his artistic process and what he hopes to gain from the opportunity.
“The prospect of working in a place that is culturally and geographically far removed from my homeland offers a unique experience,” he explained.
“I anticipate that the historical significance of Diriyah, combined with the vibrant contemporary discourse on art, technology, and culture in the region, will inform new directions in my work and deepen my engagement with the concepts I explore.”
To work with a global cohort of artists, researchers and mentors is something Brooks is particularly looking forward to, and he added: “I believe a crucial aspect of being an artist is being inquisitive. This opportunity affords me the means to draw from a diverse and far-reaching wealth of knowledge.”
When it comes to his work, the multi-disciplinary artist has most recently been experimenting with the medium of installation in a bid to merge historical processes with new technologies. His most recent work, for example, “(conflates) the use of traditional etching processes on metal with digital imaging of the often overlooked but pervasive presence of digital communication.”
Brooks’ interest in digital signals and their vital role in daily modern life aims to explore and highlight how “these connections shape our interactions and identities in ways we often overlook.”
He added: “By making these digital elements visible, I aim to spark reflection on the implications of living in a world increasingly mediated by technology.”
Despite the seemingly futuristic nature of his work, the artist is keen to look back at history to inform his process.
He said: “When approaching a project, I start by immersing myself in archival materials, historical documents, or artifacts, aiming to uncover the ways in which older technologies or media forms were once used, understood, and experienced.
“This historical research is an attempt to see how these past media forms can recontextualize and critique present-day technological advancements.”
Brooks recognizes that it is no mean feat to translate such abstract concepts into physical artworks and pointed to his 2022 work “Radio Tapestry” as a piece he is particularly proud of.
He said: “This work involved translating data from wireless networks and digital devices into a visual and sonic installation of etched plates, allowing the audience to experience the otherwise invisible electromagnetic signals that we rely upon and surround us every day.
“The challenge lay in not only making the technology function smoothly, but also in creating an installation that communicated the conceptual depth of the work — highlighting how these intangible signals shape our environment.”
‘Mufasa’ filmmaker and cast dish on ‘Lion King’ prequel
DUBAI: US filmmaker Barry Jenkins, known for his unique storytelling approach in films like the Oscar-winning “Moonlight” and “If Beale Street Could Talk,” was never in the business of making CGI-heavy blockbusters. But when Disney calls, you answer.
“Mufasa: The Lion King,” a prequel to the 2019 photorealistic telling of the 1994 classic, sees Jenkins take the directorial baton from Jon Favreau — and he says a vital piece of advice from the latter helped him see the project through.
“His advice was very simple and concrete. He said, ‘Just forget about the tech. Forget about the tech and just find whatever way you can to tell the story in your voice.’ It was really crucial,” Jenkins told Arab News.
“We still, of course, had to learn the technology, and sort of master it. But we realized very quickly we weren’t beholden to the way the technology was being presented to us, and that we could sort of mold it and meld it to fit our storytelling principles.”
Exploring the unlikely rise of the beloved king of the Pride Lands, “Mufasa” enlists Rafiki (John Kani) to relay the legend of Mufasa (Aaron Pierre) to young lion cub Kiara (Blue Ivy Carter), daughter of Simba (Donald Glover) and Nala (Beyonce), with Timon (Billy Eichner) and Pumbaa (Seth Rogen) lending their signature schtick.
Told in flashbacks, the story introduces Mufasa as an orphaned cub who meets a sympathetic lion named Taka (Kelvin Harrison Jr.) — the heir to a royal bloodline. Their chance meeting sets in motion an expansive journey for the adoptive brothers, with their bonds tested as they work together to evade a deadly foe.
The concept of found family is integral to “Mufasa,” and while there are no surprises as to Taka’s eventual identity, Jenkins says telling his story was as important as telling Mufasa’s.
“When I first read the script, I was surprised and moved by the depth of this backstory. But then I was like, why am I surprised? Because when you watch the 1994 film, Jeremy Irons is bringing so much heartache, so much woundedness, so much bitterness to this performance. And this story is really about the energy of that woundedness, of that heartbreak. And so, I shouldn't have been surprised,” said Jenkins.
“But once I read the script, I did realize that the success of the film, the emotional success of it, was going to depend on the quality of that bond and the way we detail it. So it was really important to us,” he added.
Charged with making the film’s music Lin-Manuel Miranda, creator of the pop culture phenomenon “Hamilton.” Jenkins says he couldn’t have found a more perfect collaborator.
“I just always have admired how earnest Lin is in his work. If you look at interviews of him speaking about anything he’s done, you can tell he’s so earnest and passionate about what he does. And you know, you can’t make the ‘Lion King’ in a cynical way. You have to be just earnest about it. And I thought when it came to this idea of making a musical, I’ve never done that, so let me work with someone who has and who’s done it very well,” said Jenkins.
The star-studded cast — including Mads Mikkelsen, Billy Eichner and Seth Rogen — bring fresh perspectives to the beloved “Lion King” universe.
When asked what made him say yes to the project, Mikkelsen — who plays the villainous albino lion Kiros — said that apart from the fact that he simply “loved lions,” he could see the parallels between Mufasa and his character.
“There’s not a big difference between Mufasa and Kiros. In the sense of their upbringing, except that Mufasa loses his parents in the beginning. They don’t throw him out. And that’s the opposite story with Kiros. He was abandoned. He’s an albino lion, and in the animal kingdom, it’s a no-go. So, his heart is darker than Mufasa. There’s no hope in his heart. That’s just survival. And so, he finds his own pride, and he wants a piece of the cake. He wants the entire cake,” Mikkelsen said.
Bringing the laughs in “Mufasa” are Eichner and Rogen, returning to play Timon and Pumbaa, respectively.
For Eichner, the film brings him strangely full circle.
“I saw the original in 1994 with my parents in the movie theater. I remember that. And then, strangely enough, several years later, when it went to Broadway in the very acclaimed Broadway production, I was right out of college and one of my first jobs was being a bartender at the ‘Lion King’ on Broadway. And I didn’t get to see the show. They wouldn’t let you watch the show, but they would pipe the audio from the show into the lobby so that we could hear it and know when intermission was coming. So, I’ve heard a lot of ‘Lion King’ in my life,” he said.
Rogen enjoyed collaborating closely with Eichner as they recorded their parts together, allowing them to work more organically.
“We get to record together, which is really rare in these types of movies. I think a lot of the dynamic that we have in the movies wouldn’t be possible if we were recording it two different times were, like, really interactive with one another and building off of what the other person’s saying in the moment. And it’s very fast as well. And yeah, it’s just really cool to get afforded the opportunity to carve out a little section of these giant, expensive franchise movies with our little brand of improvizational comedy. It’s cool that they let us do that,” Rogen said.
When asked if they could recall any of their improvised bits in the movie, Rogen said: “There’s some meta jokes that break the fourth wall. Billy makes some references to the Broadway show. We have a lot of jokes on how we wish we had more songs and more screen time. I mean, all that stuff that was just really making us laugh as we were doing it. And no part of me thought it would make it into the movie, honestly, but a lot of it made it into the movie.”
Eichner added: “I also like when Timon and Puma become a little bitter and resentful at Rafiki because he’s inserting himself into the story, but not giving us a part in it. At the premiere, actually, which is the first time I saw it with an audience, I had forgot about that. And that was kind of surprising that we’re allowed to do that in the movie, but it almost feels like that part is more for the adults in the crowd.”
Sofia Carson flaunts Lebanese labels at New York performance with Andrea Bocelli
DUBAI: Singer and actress Sofia Carson continued her love affair with powerhouse Lebanese designers at two shows in New York this week, after showing off looks by Elie Saab and Zuhair Murad at promotional events on numerous occasions this year.
Carson performed at New York’s Madison Square Garden alongside legendary Italian tenor Andrea Bocelli this weekend in a scarlet gown from Elie Saab’s Autum/ Winter Couture 2022 line. One day later, she hit the stage for part two of the event in a black, off-the-shoulder taffeta dress from Zuhair Murad’s ready-to-wear pre-Fall 2024 collection.
“As I stepped off stage, my mom, my dream maker, held my hand and asked me what I felt. . . I said ‘I feel elated,’” Carson captioned a carousel of behind-the-scenes shots on Instagram, in which she is wearing Murad’s creation.
In October, the singer and “Purple Hearts” actress was spotted in New York in a caped Elie Saab couture look from the maison’s Spring/Summer 2024 collection, while earlier that month she hit the red carpet in Rome in another gown by the designer.
Carson showed off a sea green gown from Elie Saab’s Fall/Winter 2023 couture collection at the “Andrea Bocelli 30 - The Celebration” premiere in Rome.
The A-symmetrical neckline and sweeping ballgown skirt brought a dose of glamor to the red carpet, with Carson opting for a sleek up-do and diamond-and-emerald earrings.
“Honored to have been by your side as we premiered your film,” the actress posted on Instagram alongside a photo in which she is seen posing with Bocelli.
The film chronicles Bocelli's three-day July concert event in Italy honoring his 30th anniversary in the music industry.
Rewind to May and Carson was seen in the French Riviera as she walked the Cannes Film Festival red carpet in yet another look by Saab. The star opted for an olive-toned ensemble from the designer’s Spring/ Summer 2024 couture collection.
Carson is something of a fan of Lebanon’s couturiers — in 2022 the actress attended the Global Citizen Festival in New York a coordinating look from Zuhair Murad’s Resort 2023 collection, while in late 2023, the actress cut an elegant figure in a Zuhair Murad gown at the second annual Cam for a Cause event in memory of her former co-star Cameron Boyce.
Georgina Rodriguez visits Dior exhibition in Riyadh
DUBAI: Argentine model Georgina Rodriguez visited an exhibition celebrating the life and work of fashion designer Christian Dior at the National Museum of Saudi Arabia in Riyadh this weekend.
The Riyadh-based model, who is the long-term partner of football star Cristiano Ronaldo, took to Instagram to share insights about the exhibit, which is running as part of this year’s Riyadh Season.
“Highly recommend to immerse yourself in the ‘Christian Dior: Designer of Dreams’ exhibition in Riyadh. A magical journey through the history of haute couture, showcasing the works of art by visionary designers for 75 years (sic),” Rodriguez captioned a short clip on Instagram.
“Christian Dior: Designer of Dreams” is a collaboration between the French fashion house and Saudi Arabia’s General Entertainment Authority.
The event, which runs until April 2, explores the legacy of Dior and his successors through a fresh narrative specially curated for the show by art historian Florence Muller and scenographer Nathalie Criniere.
Highlights include tributes to some of Dior’s classic designs, such as Miss Dior and J’adore, and an homage to the Lady Dior bag in the form of the Dior Lady Art project.
British milliner Stephen Jones, one of Dior’s master creators, was heavily involved in the creation of the exhibition.
“When we were installing the hats, some of the looks I remembered, some I didn't. But many have never been shown before, so it sometimes feels like I’m seeing them for the first time,” Jones told Arab News earlier this month.
Bella Hadid promotes Orabella for festive season
DUBAI: US Palestinian Dutch supermodel Bella Hadid took to Instagram to thank her team and customers for the success of her fragrance label Orabella’s festive Alchemy Library pop-up in New York City.
“The best night at our @orebella Alchemy Library pop-up in NYC! So much love and gratitude to my team & the beautiful humans who showed up to transform @thenednomad into such a warm & intimate space to celebrate the holidays, each other and my favorite sets to date: Our holiday gift boxes,” she wrote on Instagram, along with a carousel of photos from the pop-up.
In a bid to look the part, Hadid traded in her cowboy Western aesthetic to adopt a more festive look and was photographed outside the pop-up in a red and white ensemble.
The retro look featured a two-toned red cardigan, straight leg blue jeans and a luxe white wool coat. Hadid glammed up the look with strappy red Valentino Garavani Ladycrush heels and statement gold earrings.
The model finished the look with her favorite choice of eyewear, a pair of Bayonetta glasses.
The alcohol-free scents of Orabella, which launched on May 2 this year, were Hadid’s answer to traditional perfumes.
Hadid wrote on her website: “For me, fragrance has always been at the center of my life — helping me feel in charge of who I am and my surroundings,” she said. “From my home to nostalgic memories, to my own energy and connection with others, scent has been an outlet for me. It made me feel safe in my own world.
“Through my healing journey, I found that I was extremely sensitive to the alcohol in traditional perfumes — both physically and mentally — it became something that was more overwhelming than calming to me,” she added. “That is the main reason I wanted to find an alternative, so essential oils became an artistic and experimental process for me.”
She started growing lavender on her farm, walking through the garden every morning and learning about her family’s tradition of making homemade scents. “I realized I might have a calling in this. I found healing, joy and love within nature’s scents,” she said.
“This is why I am so proud of Orebella. It was truly a dream and a passion, that through the universe and authentic dedication, was able to become this brand,” Hadid wrote.
