PESHAWAR: Hairdressers in Pakistan’s conservative northwest have announced a ban in their shops on “fashionable” beards, saying trendy facial hair violates Islamic law.
The decision affecting Khyber Pakhtunkhwa province echoes a similar ban introduced there more than a decade ago, after militant groups including the Pakistani Taliban threatened barbers with dire consequences for trimming beards.
“Creating different beard designs is against the Sunnah (teachings) of the Prophet Muhammad,” Sulemani Hairdressers Association president Sharif Kahlu told a press conference in the provincial capital Peshawar on Monday.
He said tens of thousands of barbers, all members of his association, have promised to abide by the decision and notices would be pasted in shops throughout the province informing customers.
Different Muslim sects adhere to different beard shapes and lengths, but the most generally accepted “Islamic” beard is one that is long enough to be visible from a certain distance, but not longer than a fistful of hair.
Kahlu strongly denied any pressure on his association from any militant organization, calling the move “a decision of our conscience.”
“We met local administrations of all the major cities and districts in the province and they assured us of their full cooperation but refused to issue any directive to make this decision official,” he said.
He said there were several shops in the province, which were not members of the association. “We will try and convince them to implement the decision but will not force them at all.”
Militants attacked many barber shops and saloons in the province a decade ago, calling the shaving of beards un-Islamic.
In recent years men in Pakistan’s major cities like Karachi and Lahore have become more metrosexual, with the growing middle class taking advantage of a trend in male beauty salons to be selfie-ready at any time.
Barbers bristle at ‘fashionable’ beards in Pakistan province
Barbers bristle at ‘fashionable’ beards in Pakistan province
Amina Muaddi celebrates festive milestone
DUBAI: Jordanian Romanian shoe designer Amina Muaddi celebrated a major fashion moment this week, taking to Instagram to share her excitement over Beyonce wearing her custom Yigit pumps in a teaser for the star’s NFL Christmas Day Halftime Show on Netflix.
Muaddi shared the video on her Instagram Stories. In the clip, the music icon can be seen wearing the satin heels in black and adorned with studs.
In the clip that Beyonce also shared on her Instagram account, the music sensation was seen holding a banjo, a stringed instrument often linked to folk, country, and bluegrass music. She wore a wide-brimmed black hat paired with sleek sunglasses, a colorful patterned cape featuring red and blue hues, and a rhinestone-adorned top. The outfit was completed with black gloves and a black skirt.
“I’m sending you big joy and love on this cowboy Christmas Eve. I’ll see y’all tomorrow, in my city HTX,” Beyonce wrote to her 313 million followers, referring to Houstan, Texas.
In another teaser posted last week, the singer also chose Amina Muaddi heels — the Begum glass pumps.
The “Texas Hold ‘Em” singer headlined the Baltimore Ravens-Houston Texans game’s halftime show on Dec. 25, after the Kansas City Chiefs play the Pittsburgh Steelers played earlier in the day. Both games featured a special pre-game performance of “All I Want for Christmas” by Mariah Carey.
Beyonce seems to be a fan of part-Arab designer Muaddi. During the singer’s Renaissance World Tour last year, she was spotted in Muaddi’s creations on stage on a number of occasions.
“I’m so happy to be part of this queen’s historic tour. Every time I see her on stage I’m in complete awe of her — the ultimate supernova. Grateful to @beyonce and her team of incredible creatives for these @aminamuaddiofficial moments on stage,” Muaddi wrote on Instagram at the time.
Muaddi launched her eponymous footwear line in August 2018, approximately one year after departing from her role as co-founder and creative director of luxury footwear label Oscar Tiye.
The shoemaker’s eponymous label’s distinct pumps, sling-backs, mules, boots and sandals in an array of vibrant colors and holographic designs have since garnered a loyal checklist of famous fans, including Dua Lipa, Gigi Hadid, Kylie Jenner and Hailey Bieber Baldwin.
Elyanna draws the curtain on ‘Woledto’ tour, looks forward to ‘next chapter of 2025’
DUBAI: Chilean Palestinian singer Elyanna concluded her “Woledto” (“I Am Born”) tour with a heartfelt message on Instagram, just weeks after winning Best Arab Indie Artist and Best New Artist at the inaugural Billboard Arabia Music Awards in Riyadh in December.
Elyanna launched her “Woledto” album in April and kicked off the tour in October, performing across North America and Europe. She graced stages in 30 cities, including Barcelona, Paris, London, Brussels, Berlin, Stockholm, Montreal, Toronto, Washington, Houston, and more.
“Feeling emotional and grateful of what this album and the tour has given me and given my fans,” she wrote. “It was a gathering of community to spread light and preach across each city and theater.”
She also hinted at upcoming projects, stating: “The sunrise and the rebirth of the ‘Woledto’ project is just (the) start for the next chapter of 2025. Arabic is the music of the soul and the sun. Grateful for all the talented people that believed in this project and helped with the vision to come to life this tour (sic).”
Elyanna’s debut album featured nine songs: “Woledto,” “Ganeni,” “Calling U,” “Al Sham,” “Mama Eh,” “Kon Nafsak,” “Lel Ya Lel,” “Yabn El Eh” and “Sad in Pali.”
Before releasing the album, she wrote to her Instagram followers: “This album is the embodiment of pride to be an Arab woman, to be from Nazareth, to be from the Middle East.
“This is the closest I’ve been to where I come from,” she added. “The only feature on my album is my grandfather.”
The Los Angeles-based singer’s music is a mix of Arabic and Western beats, which she attributes to her multicultural upbringing.
Elyanna has been normalizing Arabic lyrics in the Western world throughout her career, taking inspiration from artists including Lana Del Ray and Beyonce, as well as Middle Eastern legend Fayrouz.
She recently lit up New York’s Times Square when she was featured on a Spotify Arabia billboard, highlighting the streaming platform’s “Equal Arabia” playlist.
Elyanna is set to perform live with British hitmakers Coldplay when the band heads to Abu Dhabi for four shows in the UAE capital in January 2025.
Festive season’s guide to dining in Saudi Arabia
- Roasts, sweets and music on the menu for brunch, lunch and dinner in Riyadh, Jeddah and AlUla
DUBAI: Celebrate with friends and family this festive season as hotels and bakeries in Saudi Arabia host special dining events and offerings on Christmas Day.
Riyadh’s Fairmont Ramla has four packages for its festive dinner, including the “Just the Roast” offering, which features a roast turkey with traditional stuffing for SR899 ($239).
Other turkey offerings with sides include the silver package with pomegranate or orange glaze for SR1,299; the gold package with the same glaze for SR1,499; and the diamond package for SR1,599.
Fairmont Hotel Riyadh has a festive brunch from 12:30 p.m. to 5 p.m. at 365 Restaurant, offering a buffet complemented by live entertainment for SR320. The hotel is also offering a “Turkey to Go” takeaway package that serves six to eight for SR1,200 until Dec. 31.
Four Seasons Hotel Riyadh’s Obaya Lounge is offering a festive set menu on Christmas Day from 12 p.m. until 3:30 p.m. for SR380 per person.
Also, the hotel’s Cafe Boulud by Chef Daniel Boulud has a festive menu combining traditional French ingredients with a modern twist from 12:30 p.m. until 4 p.m. on Dec. 25 for SR600 per person.
Also in Riyadh, the Mandarin Oriental Al-Faisaliah is offering a festive lunch at La Brasserie from 12:30 p.m. to 4:30 p.m. on Dec. 25 for SR245 per person.
Over in AlUla and Sass — the desert outpost of the fine-dining celebrity hotspot from Monaco — launched a new menu on Dec. 24. Diners can also enjoy a festive-themed saxophone performance on Dec. 25 and 26.
To end things on a sweet note, Rosewood Jeddah’s Soleil Cafe is offering festive treats for the season, including assorted cookies, German stollen, a traditional yule log and a Raffaello ball.
Artist William Brooks seeks fresh inspiration in Saudi Arabia’s 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.”
