KARACHI: Dancing and chanting in Swahili at a crocodile shrine outside Karachi, hundreds of Pakistani Sheedis swayed barefoot to the rhythm of a language they no longer speak -- the celebration offering a rare chance to connect with their African roots.
For many Sheedis, the swampy crocodile shrine to Sufi saint Haji Syed Shaikh Sultan -- more popularly known as Mangho Pir -- is the most potent symbol of their shared African past, as they struggle to uncover the trail that led their ancestors to Pakistan.
Many, like 75-year-old Mohammad Akbar, have simply given up the search for their family's origins.
The descendants of Africans who have been arriving on the shores of the subcontinent for centuries, the Sheedis rose to lofty positions as generals and leaders during the Mughal Empire, which ruled swathes of South Asia.
But, actively discriminated against during British rule, their traditions began to fade, and they found themselves wholly shunned when Pakistan was created in 1947, absent from the country's elite political and military circles.
Figures are scant but it is generally accepted that Pakistan holds the highest number of Sheedis on the subcontinent, upwards of around 50,000 people.
But their history has been scantily written, making it difficult if not impossible for Sheedis -- including even those like Akbar whose ancestors arrived in Pakistan relatively recently -- to trace their antecedents.
"I came to know in the 1960s that my grandfather belonged to Zanzibar, and we contacted the Tanzania embassy to find our extended family," Akbar told AFP outside his home in Karachi.
"We were told that we can never reach them until we can identify our tribe, which we don't know," he said. "I never tried again."
His plight is common, with little in the way of documentation or scholarship on the community.
What is available suggests many arrived as part of the African slave trade to the east -- a notion rejected by many Sheedis, most of whom now reside in southern Sindh province.
"We don't subscribe to the theories that someone brought us as slaves to this region because Sheedis as a nation have never been slaves," argues Yaqoob Qanbarani, the chairman of Pakistan Sheedi Ittehad, a community group.
Others say the community's origins can be traced back to the genesis of Islam, claiming a shared lineage with Bilal -- one of Prophet Mohammad's closest companions.
As the knowledge of their origins has faded, so too have many of their traditions, including the vestiges of Swahili once spoken in parts of Karachi.
"Swahili has been an abandoned language for some generations now," says Ghulam Akbar Sheedi, a 75-year-old community leader.
"I remember that my grandmother would extensively use Swahili phrases in our daily conversation," says 50-year-old Atta Mohammad, who now struggles to remember even a few sayings.
With so many traditions lost to the past, the Sheedi mela, or festival, at the Mangho Pir shrine has assumed rich significance and been the epicentre of the community in Sindh for centuries.
They no longer know why it is held there, they are simply following in the steps and repeating the words of their ancestors.
"It attracts the Sheedi community from all over Pakistan," Qanbarani tells AFP.
"We celebrate Mangho Pir mela more than Eid," he adds.
The celebration features a dancing procession known as the Dhamal, with men and women in trance-like states -- a rare sight in conservative, often gender-segregated Pakistan.
"The Dhamal dance... is done with great devotion and much delicacy," says Atta Mohammad, who spoke with AFP at the festival. "Some of us are captured by holy spirits."
Mehrun Nissa, 65, prepares a sacred drink during the mela while translating from what she says is a Swahili dialect.
"Nagajio O Nagajio, Yo aa Yo.... means now we are leaving to have a drink from the bowl," she explains.
Mangho Pir is also home to over 100 lumbering crocodiles that waddle between the devotees near a swampy green pond where they have lived for generations.
Legend holds that lice on the Sufi saint's head transformed into the reptiles who now live at the shrine.
The oldest crocodile -- known as More Sawab, and believed to be anywhere between 70 and 100 years old -- is feted at the festival's climax with garlands and decorative powder while being fed chunks of raw meat.
Even this tenuous link to the community's past is in danger of being severed, however.
The celebrations this March were the first time the festival has been held in nine years, after rising extremism saw Sufi shrines come under threat across Pakistan, with repeated gun and suicide bomb attacks.
"The situation was not suitable for us as children and women also participate in the mela," said Qanbarani, as heavily armed police commandos flanked the crowd.
But with dramatic improvements in security in recent years the community hopes to continue the mela, celebrating traditions that have survived slavery, colonisation, and modernisation.
"It is a Sheedi community belief that by honouring the crocodile our whole year will pass in peace, tranquility and prosperity," explains Mohammad.
"We look forward to celebrating the mela next year too, and forever."
Crocodiles guard secrets of Pakistan's lost African past
Crocodiles guard secrets of Pakistan's lost African past
- "The Dhamal dance... is done with great devotion and much delicacy,".
- "It is a Sheedi community belief that by honouring the crocodile our whole year will pass in peace, tranquility and prosperity,".
Em Sherif Art Foundation reimagines global restaurants as cultural hubs
DUBAI: With 24 outposts around the world, the minds behind Lebanese restaurant Em Sherif are keenly aware of their responsibility when it comes to sharing the country’s culinary culture with international audiences.
Now, they are taking things one step further with the launch of the Em Sherif Art Foundation that aims to provide increased visibility for artists through restaurants — in Doha, Monaco, London, Paris and Dubai, among other cities — which are being reimagined as cultural hubs.
Earlier this year, the Em Sherif Cafe in Paris showcased the work of Lebanese photographer Ziad Antar, and part of the initiative sees diners at all Em Sherif locations presented with three menus — a food menu, a drinks menu and an art menu — inviting guests to engage with the evolving story of contemporary Lebanese art.
Em Sherif CEO and co-founder of the art foundation, Dani Chakour, spoke to Arab News about the cultural initiative.
“The art menu is not intended for commercial or financial purposes. Rather, it serves as a curated catalogue that showcases the artworks currently on display,” he said.
The decision to focus exclusively on Lebanese artists was intentional, Chakour added.
“In Lebanon, it is often the private sector that drives meaningful cultural and artistic initiatives, as government support for the arts remains limited. Through this foundation, we aim to be an added value for our artists, helping them gain the visibility and recognition they deserve on a global scale.
“We need active public-sector involvement: We need more art fairs, modern infrastructure, supportive tariffs and dedicated museums. Without this foundational support, our artists will continue to be overlooked, despite their remarkable talent,” he said.
Chakour, who has a personal collection of more than 600 artworks, spotlighted celebrated names in the international art industry who he says benefited from working abroad.
“Huguette Caland, Gibran Khalil Gibran, Etel Adnan, Mona Hatoum, Walid Raad, Yvette Ashkar, Amin Maalouf, they are some of Lebanon’s most celebrated names. But what do they all have in common? They each spent the majority of their careers abroad, in environments that offered the right ecosystems … this is not a reflection of a lack of talent in Lebanon. On the contrary, it’s a reflection of what’s missing structurally; the institutional support, the infrastructure, the public funding, the museums, the cultural policies and the global exposure.
“At Em Sherif Art Foundation, we’re driven by a mission to help bridge that gap — to create opportunities within and beyond Lebanon so that our artists don’t need to leave home in order to rise,” Chakour said, noting that showcases by artists Christine Safa, Willy Aractengi, Ayman Baalbaki, Hussein Madi and Bibi Zogbe will be hosted in the coming months.
Palestinian solidarity takes center stage at Glastonbury
DUBAI: Glastonbury Festival 2025 is making headlines not just for its music, but for the powerful pro-Palestinian messages echoing across its stages and crowds.
Irish rap group Kneecap drew one of the festival’s largest crowds at the West Holts Stage. Dozens of Palestinian flags flew in the crowd as the show opened with an audio montage of news clips referring to the band’s critics and legal woes.
Between high-energy numbers that had fans forming a large mosh pit, the band members — sporting keffiyehs — led the audience in chants of “Free Palestine” and “Free Mo Chara.” They also aimed an expletive-laden chant at UK Prime Minister Keir Starmer, who has said he didn’t think it was “appropriate” for Kneecap to play Glastonbury.
One member wore a T-shirt emblazoned with “We Are All Palestine Action,” referencing the direct-action network that targets arms factories supplying Israel.
Earlier that day, punk duo Bob Vylan also stirred controversy with a performance that included the chant “Death to the IDF.” The statement has prompted a police investigation and sparked a broader debate over the limits of free speech in live performance.
Across the festival, Palestinian flags were visible in every direction — raised by artists, waved in the crowd, and printed on T-shirts and posters. Activist installations, including a projection mapping Gaza’s destruction, drew foot traffic near the Apocalypse Museum area, while several artists circulated an open letter calling for an immediate ceasefire.
Amira Al-Zuhair walks for AWGE in Paris
DUBAI/PARIS: Saudi French model Amira Al-Zuhair hit the runway at the AWGE show as part of Paris Men's Fashion Week.
The 24-year-old model showed off an ensemble featuring a trench coat layered over a white vest and tartan-style miniskirt by A$AP Rocky’s label.
Rapper-designer A$AP Rocky’s second fashion show was attended by his long-term partner Rihanna, who sat front row with their son Riot. His sophomore collection, titled “Obligatory Clothing,” was just (about) how you take the simple uniform or the purpose of a uniform, and how people correlate that to profession, lifestyle and everything,” Rocky said after the show, according to WWD.
The show was a riot of color, with its precision tailoring praised by a number of fashion critics.
It came as colors ran wild and silhouettes softened at Paris Men's Fashion Week, which ended Sunday, as designers brought a rare breath of fresh air to a gloomy fashion climate.
Despite the economic turbulence affecting the luxury sector, this Fashion Week was a “shot of creativity that felt incredibly good,” Alice Feillard, men's buying director at Galeries Lafayette, told AFP.
The Spring/Summer 2026 season “is much more creative than the previous ones, which were a bit duller”, said Adrien Communier, the fashion editor at GQ France.
Both experts observed a more relaxed vibe, with Feillard pointing to “good humor” and “optimism,” while Communier noted a “lighter mood.”
“With so many debuts, there was a sense of renewal. And so, I found that people were more curious,” he added.
After a notable women's show in March, Julian Klausner made waves Thursday with his first menswear show for Dries Van Noten, while Jonathan Anderson's long-awaited debut at Dior drew applause on Friday.
A renewed burst of creativity lit up the runways, most visibly through bold color choices. Brown tones and pastels made way for a richer, more saturated palette for next summer.
Saint Laurent opened the week with violet, navy, orange and moss green, while Pharrell Williams at Louis Vuitton channeled Indian motifs and hues.
Dries Van Noten made a splash with bold fuchsia and blood red, while Kenzo exploded with candy pink, aquatic blue and chick yellow.
Hourglass Cosmetics expands into Saudi Arabia with vegan, purpose-driven line
DUBAI: A little while ago, I attended a masterclass for Hourglass Cosmetics in Dubai. As someone who does not wear much makeup — I do not own foundation or even basic tools — I was curious to see whether this much-talked-about brand could change my mind.
As the class unfolded and the makeup artist demonstrated how to create their signature “dewy” look, I wondered: Is this brand for someone like me? After the session, I browsed the range, got shade-matched, and tested a few brushes. A few days later, I received a curated selection of cult favourites: the Airbrush Primer, Skin Tint, a clump-free mascara, a richly pigmented liquid blush, a volumising glossy balm, and other treats.
I decided to put it all to the test. The results surprised me. I did not look overly made up — my sun spots were still visible beneath the tint — but my skin looked fresh, and my cheeks had that light, rosy flush you usually only get from a good mood or better lighting.
The next test was longevity. I applied the entire routine at 5 a.m. before a flight to Rome. By 11 p.m. local time, my friends were amazed that my makeup was still intact. It was time for a purge — ditch the old products and restock with what really worked. So I decided to learn more about the Hourglass brand; its philosophy, iconic products and their foray into the Gulf Cooperation Council region, especially Saudi Arabia.
Founded by beauty entrepreneur Carisa Janes in 2004, Hourglass was born to challenge the traditional idea of luxury beauty. “From the outset, my vision was to merge innovation with integrity,” Janes tells Arab News. “I wanted to prove that you don’t have to compromise on ethics to experience exceptional quality.”
This philosophy has been at the heart of Hourglass since day one, setting them apart in an industry that, at the time, was not prioritizing cruelty-free beauty at a luxury level. The brand quickly carved a niche for itself by combining high-performance formulations with a cruelty-free philosophy — something rarely seen in luxury beauty at the time — and eventually made the bold move to go fully vegan. “At the time, luxury beauty was so often synonymous with indulgence, with little consideration for animal welfare. I could not accept that performance had to come at the cost of compassion.”
Every product they create is designed to push boundaries, both in innovation and impact. The Unlocked Collection, for instance, is rooted in the brand’s commitment to animal welfare, with 5 percent of net profits supporting the Nonhuman Rights Project’s work to secure fundamental rights for animals. “The collection embodies the fusion of luxury and performance, offering high-impact, radiant formulas that feel as indulgent as they are purposeful,” Janes said.
Equally groundbreaking is the Ambient Lighting Collection, inspired by the transformative power of light. “I wanted to develop powders that could recreate the most flattering lighting effects — whether it is the soft glow of candlelight or the diffused radiance of golden hour,” she says. The result was a finely milled, photoluminescent formula that enhances the complexion in an almost ethereal way — subtle yet transformative, and now one of Hourglass’s most iconic innovations.
A staple among celebrity makeup artists and celebrities alike, the brand is now fast extending its presence within the GCC, especially the UAE and Saudi Arabia.
Janes said the Kingdom “is an incredibly exciting market. There’s a distinct appreciation for artistry, luxury, and innovation — qualities that are intrinsic to Hourglass.”
As Saudi consumers increasingly seek brands that align with their values, Hourglass’s cruelty-free, vegan philosophy feels especially timely. Janes notes that Hourglass has seen strong momentum across Europe, the Middle East and Africa, and the expansion into Saudi Arabia is a natural step in their global strategy.
“The Kingdom represents a key market in our global expansion, with a beauty industry that continues to grow at a remarkable pace,” she said.
Janes’ ultimate vision for Hourglass is to redefine luxury beauty for the future — to prove that artistry, innovation and ethics can coexist at the highest level. “I hope that when people think of Hourglass, they don’t just see a brand, but a movement — one that proves luxury can be transformative, not just for those who wear it, but for the world at large.”
Sofia Carson wears Elie Saab at Biarritz Film Festival
DUBAI: American actor and singer Sofia Carson attended the third Nouvelles Vagues International Biarritz Film Festival this week, wearing a black ensemble by Lebanese designer Elie Saab.
Her outfit featured a long-sleeved dress with a bow-tied collar and layered ruffle detailing along the sleeves and bodice. The skirt was tiered and embellished with black sequins and sheer mesh panels, creating a structured silhouette with varied textures. She completed the look with black pointed-toe heels and diamond earrings.
Held annually in the southwestern coastal town of Biarritz, the festival highlights emerging voices in global cinema and focuses on innovation in storytelling.
Carson appeared on the red carpet alongside other guests and filmmakers as the festival launched its week-long program of screenings, panels, and industry discussions.
She later shared photos from the event on Instagram, writing: “Honored to be a part of a jury of extraordinary young artists, filmmakers, directors, lovers of cinema. Merci @festivalnouvellesvagues for celebrating the power, responsibility, and artistry of youth in cinema.”
Carson has long been a fan of Saab’s designs. Earlier this month she showcased multiple looks by the couturier during Netflix-related events.
In the lead-up to Netflix Tudum 2025: The Live Event, the platform’s global celebration of fandom and storytelling, Carson wore a white ensemble featuring a tailored blazer, wide-leg trousers and a matching shirt.
On a separate occasion she wore an all-black outfit composed of wide-leg trousers and a sheer top with cape-like sleeves, tied at the neck with a long scarf. Both outfits were from Saab’s Ready-to-Wear Pre-Fall 2025 Collection.
She appeared in one of the designer’s ensembles in March while promoting her latest project, “The Life List.” She also wore a green dress from the designer’s Ready-to-Wear Fall/Winter 2023–2024 Collection during an appearance on “CBS Mornings” in New York. The look featured an oversized floral embellishment at the neck in shades of yellow and white, styled with deep green knee-high boots and a matching bag.
Later that same week, she wore another look by the designer, a black dress with a fitted silhouette and structured shoulders. She styled it with long leather gloves, sheer black stockings and pointed-toe pumps.
