QUETTA: Baloch Culture Day which was celebrated on Friday created a great deal of excitement all over Pakistan’s southwestern province of Balochistan and also in parts of Karachi. Balochi people dressed in ethnic clothing organized colorful events in many different towns and cities.
Baloch Culture Day is celebrated every year on March 2 to highlight the rich history and traditions of the Baloch community that traces its origins to the area of Aleppo in Syria.
Most Baloch men cover their heads with long, white turbans and wear short jackets over their baggy clothes. Baloch women like to wear more colorful dresses that are mostly made by hand and feature attractive designs.
Balochistan is the largest province in Pakistan in terms of its landmass though it is sparsely populated.
Until recently, governments had not paid much attention to its development and this led to serious political grievances among its people. The province has now, however, acquired tremendous strategic importance because of the Gwadar deep-water port that is quite integral to the China-Pakistan Economic Corridor (CPEC).
Friday’s celebrations were also enjoyed by senior security forces officials. Addressing a gathering that was arranged to commemorate the day, Frontier Corps (FC) West Sector Commander Brig. Rahat Sadiq praised the Baloch people for their strength.
As in previous years, the people celebrating the day listened to Baloch folk music and enjoyed their traditional cuisine as the spent a day full of pride and joy.
Pakistan’s Baloch community celebrates Culture Day with fervor
Pakistan’s Baloch community celebrates Culture Day with fervor
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New partnership to conserve AlUla’s cultural heritage
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- National Archives will work with the commission in four broad areas: training and scientific exchange, archival research, public programming, and digitization
- Abeer Al-Akel: Our partnership with the National Archives exemplifies the power of international collaboration
JEDDAH: The Royal Commission for AlUla has signed a partnership agreement with the UK National Archives in line with the commission’s goals of cultural heritage preservation, international collaboration, and contribution to Vision 2030.
Through its expertise in archival management and historical documentation, the National Archives will work with the commission in four broad areas: training and scientific exchange, archival research, public programming, and digitization. Specific initiatives will focus on joint research projects, digital archive initiatives, and cultural exhibitions.
Abeer Al-Akel, acting CEO of the commission, said: “RCU’s campaign of comprehensive regeneration is transforming AlUla into a global hub for heritage and culture — and an extraordinary location for residents and visitors. Our commitment to conservation supports Vision 2030’s goal of promoting Saudi culture through initiatives that are ‘powered by the past, reimagined for the future.’
“Our partnership with the National Archives exemplifies the power of international collaboration, combining expertise and resources from Saudi Arabia and the UK to enhance cultural heritage research and public programming.”
Saul Nasse, chief executive and keeper of the National Archives, said: “Working with the Royal Commission for AlUla is an opportunity to share our pioneering work in documenting and safeguarding heritage. RCU has an ambitious strategy to preserve the rich stories of northwest Arabia, and we look forward to contributing our insights and experience.”
Through this collaboration, RCU and the National Archives aim to enhance the visibility of Saudi documentary heritage and strengthen the capacity of local archives to provide wide access to these invaluable resources, further solidifying AlUla’s position as a global hub for cultural preservation and exploration.
Tory Burch taps Loli Bahia for New York show
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DUBAI: American designer Tory Burch unveiled a collection imbued with the spirit of sport — but without venturing into sportswear — at New York Fashion Week this week, with French Algerian model Loli Bahia walking the runway.
Freedom and movement were reflected in loose-fitting wool pants and wrap dresses, while power shone through in the assembly of different pieces, fabrics and cuts on the models marching down the catwalk, AFP reported.
Bahia showcased one of these looks, donning a sleek, structured black ensemble with asymmetrical cuts and overlapping panels that gave it a modern, deconstructed feel. The top had a wrap-like structure with subtle ties on the front, while the skirt featured a high slit.
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The outfit, from the Spring/Summer 2025 collection, was completed with bold, oversized statement earrings and classic black peep-toe heels.
Bahia was joined by Mona Tougaard, who has Danish, Turkish, Somali and Ethiopian ancestry.
Tougaard graced the runway wearing a sleeveless, cropped black top with a V-neckline, paired with a voluminous, flowy white skirt that had a layered, ruffled design. The skirt featured delicate draping and soft pleats. She wore neutral-tone open-toe heels and had her slicked-back.
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Other standout looks from the show included an ensemble of ultra-light suede pants with a rope belt and a skin-tight sweater patterned in red and white.
A transparent white jersey shirt with ruffles and overly long sleeves was paired with its formal counterpart, brown wool pants.
With this collection, the Pennsylvania native broke from the style that made her famous, a combination of preppy New England with a touch of the bohemian.
“It’s more about the spirit and the essence of sport,” Burch, whose shows have become a staple of New York Fashion Week, told AFP.
That means it is about “movement, about freedom, precision” as a starting point, she explained, adding: “The word ‘synchronicity’ was something I thought about.”
“I wanted to be careful with not having too many different prints, but I wanted it to come across in some textures and the fabrics and the color,” Burch, who this year celebrated the 20th anniversary of her eponymous fashion house, said.
REVIEW: ‘Beetlejuice Beetlejuice’ can’t hold a candle to the 1988 original
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CHENNAI: Often it needs just a single work for a director to emerge out of the shadows and shine. For Tim Burton that happened in 1988 with “Beetlejuice,” a camp horror that straddled the line between comedy and the macabre.
It was a turning point for the 26-year-old director who shot straight to the big leagues and returned to the now-concluded Venice Film Festival with the sequel, “Beetlejuice Beetlejuice,” in September.
With headlining names like Michael Keaton, Winona Ryder and Jenna Ortega, one of the sequel's first scenes shows Italian icon Monica Bellucci as Delores the ghost all cut into pieces lying in several boxes. She begins to pin herself together with a stapler and proceeds to suck the souls of dead men and women, all set to a soundtrack of “Tragedy” by the Bee Gees. Gory but fun — and very on brand for Tim Burton.
The movie begins in a clumsy manner with the characters being arranged in what felt like a chess game, with the key pieces spread out. The sequel follows Winona Ryder's Lydia Deetz, the former goth teen who is now a psychic mediator with her own paranormal television show.
Deetz’s supernatural abilities are brushed off by her daughter, Astrid (Ortega), who believes her mother’s visions are pure delusion and soon enough Catherine O’Hara returns to her role as Lydia’s narcissistic artist stepmother.
Keaton reprises his part as the titular ghost, but he was far more eccentric and engaging in the first film — his performance here feels like a watered-down version of what we saw earlier.
This largely sum up what seems to be the point of the film — a nostalgia-fuelled look-back at a high-camp horror for Burton fans to enjoy during the Halloween season.
Unfortunately, the movie feels lethargic, dispirited and soulless. Far from the 1988 work that was peppy and praiseworthy.
From Sweden to Hollywood, Arab designers shine among celebrities
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DUBAI: From US actress Grace Van Patten flaunting heels by Andrea Wazen to British singer Ellie Goulding hitting the red carpet in a Zuhair Murad gown, celebrities kicked off September in style.
Van Patten opted for the Katy Lace Sling heels by Lebanese footwear designer Andrea Wazen at the season 2 premiere Of Hulu's "Tell Me Lies" in California.
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The actress, who has appeared in two Netflix films and two Hulu mini-series, paired the black heels with a baby pink slip dress at the premiere.
For her part, Goulding showed off a floor-length number by Lebanese designer-to-the-stars Zuhair Murad, hailing from the label’s Resort 2025 collection. The “Love Me Like You Do” singer chose the dress for an appearance at the Perfect World Foundation's Honorary Conservation Award ceremony in Gothenburg, Sweden, where she was given The Perfect World Foundation Award, following in the footsteps of previous recipients such as Sir David Attenborough, Dr. Jane Goodall, and Prince Albert II of Monaco.
Ragnhild Jacobsson, CEO and co-founder of The Perfect World Foundation, praised Goulding's environmental efforts in a released statement, saying: "Ellie Goulding is a respected force as a climate and nature champion. Her inspirational efforts to mobilize the youth in saving our planet's biological diversity are admirable. We are proud to honor her as this year's recipient."
In another landmark achievement for an Arab designer, Saudi couturier Mohammed Ashi, the founder of Paris-based Ashi Studio, saw US actress Demi Moore grace the cover of Variety magazine in one of his creations.
Moore was photographed for the cover of the Hollywood title’s September issue in a black gown from Ashi’s Sculpted Clouds collection — his Fall 2024 Couture show.
Ashi became the first couturier from the Gulf to join the Federation de la Haute Couture in Paris as a guest member in 2023 and has since shown his collections on the official Paris Haute Couture Week calendar.
Directors show solidarity with Palestinians during Venice Film Festival speeches
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DUBAI: The final ceremony of the Venice Film Festival on Saturday saw multiple winners use their acceptance speeches to express solidarity with the Palestinian people and condemn Israel’s military campaign in Gaza.
“As a Jewish American artist working in a time-based medium, I must note, I’m accepting this award on the 336th day of Israel’s genocide in Gaza and 76th year of occupation,” said US director Sarah Friedland as she accepted the Luigi de Laurentiis prize for best first film for “Familiar Touch.”
“I believe it is our responsibility as filmmakers to use the institutional platforms through which we work to redress Israel’s impunity on the global stage. I stand in solidarity with the people of Palestine and their struggle for liberation,” she continued.
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The director’s comments were met with strong applause, Deadline reported. Her speech comes amid Israel’s 10-month military campaign in Gaza in which more than 40,000 Palestinians, including more than 16, 000 children, have been killed. The current conflict was sparked by the Oct. 7 Hamas attack on Israel, in which 1,139 were killed, including 36 children.
Palestinian filmmaker Scandar Copti accepted the best screenplay prize in the Horizons section for his films “Happy Holidays.”
“I stand here deeply honored, yet profoundly affected by the difficult times we’re living through over the past 11 months, our shared humanity and moral compass have been tested as we witness the ongoing genocide in Gaza,” he said on stage.
“This painful reality reminds us of the devastating consequences of oppression, which is a theme in our film. Our film looks at how moral narratives can bring us together as communities, but also blind us to the suffering of others.”
Meanwhile, “The Room Next Door,” Pedro Almodóvar’s English-language debut starring Julianne Moore and Tilda Swinton, topped the Venice Film Festival and was awarded its Golden Lion award.