Singer Emel Mathlouthi on why she’s known as ‘voice of the Tunisian revolution’

Updated 06 July 2018
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Singer Emel Mathlouthi on why she’s known as ‘voice of the Tunisian revolution’

LONDON: Emel Mathlouthi no longer wants to be categorized as “the voice of the Tunisian revolution.” For now she’s done with looking back on the early days of the uprising, when her song “Kelmti Horra” went viral.
The track, whose title means “My Word is Free,” includes the lines “I am free and my word is free ... I am the soul of those who do not forget / I am the voice of those who do not die.”
It became an anthem for the protests sweeping through streets in cities across the country before they spilled out across the region, marking the birth of the Arab Spring.
“That was all a long time ago,” said Mathlouthi, who grew up in a Tunis suburb, but left in 2008 to pursue a musical career away from the oppressive regime of President Zine El Abidine Ben Ali after the government banned her music from Tunisian airwaves.
Having discovered her voice at 15, Mathlouthi had been producing steadily more subversive material, expressing her frustration through songs such as “Dhalem” (“Tyrant”), and performing in public, despite the risks. “It made me feel really powerful,” she recalls.

 


Now living in New York with her husband and daughter, and Paris prior to that, she has attracted steadily larger crowds and been described as the “Fayrouz of her generation.” She performed before global audiences at the Nobel Peace Prize ceremony
in 2015, an experience that she is quite rightly “proud of.”
But more interesting to Mathlouthi, who speaks with refreshing frankness and refuses to be drawn into discussions on chapters of her career that she considers complete, is the journey ahead.
“I don’t want to only be defined as someone associated with the revolution,” she told Arab News in a telephone interview ahead of the Liverpool Arab Arts Festival in the UK this month, where she is one of the headline acts.
“I want to create music that’s on the frontline, not only of what it’s standing for, but also the quality of what people are listening to,” she said.
Her voice, searing, haunting and agonizingly beautiful, captures the suffering and devastation that her country has seen since Tunisian vegetable vendor Mohamed Bouazizi set himself alight in front of a government building in December 2010. A series of uprisings followed across the region, the effects of which continue to be felt across the Middle East and North Africa.

But while Mathlouthi’s Arabic lyrics “speak for themselves,” it doesn’t matter, she says, whether or not her audiences grasp the meaning of the words.
“For me that’s not the most important thing in art and music. Sometimes it’s even better if you don’t understand the lyrics.” That way, she said, the music can “transport you.”
With the literal meaning of the song subsumed, the experience of the music is “deeper” and “more honest,” a way “to let yourself be taken by the music and the power in it,” she explained.
Her upcoming album, however, will be recorded in English, the language she started singing in as a teenager while listening to the likes of American folk singer Joan Baez and doing covers of grunge rock group Nirvana and heavy metal band Metallica. It was music that channeled the rebellious spirit she inherited from her father, who antagonized the regime with his union activism.
“It was the language I first sang in and I felt like I needed to connect with that part of myself,” she told Arab News.
Writing her latest album, she is immersing herself in the poetry of T.S.Eliot, Rainer Maria Rilke and John Ashbury, delving into “the most beautiful art form that exists” to seek inspiration for new songs exploring the theme of empathy.
Reading was an important part of family life for Mathlouthi, who remembers getting her first library membership aged nine, instilling the early fascination with words that inspire her evocative lyrics today. “I always like things when their poetry resonates in me,” she said.
The enveloping intensity of her sound, which combines the rock, psychedelic-folk influences of her youth with experimental, cinematic and electronic beats, fusing elements of traditional North African music with contemporary Western trip-hop, has entranced audiences in the Middle East, Europe and the US.
After watching her at the Nobel Peace Prize ceremony and concert in 2015, American television presenter Jay Leno, the event’s host, said that she was the first Arabic-language singer to catch his attention.
On stage, the English words lit up across the wall as she sang, backed by a full orchestra and choir before a captivated crowd waving illuminated smartphones in time to her soaring vocals.
“A very important moment was happening for the audience and for myself,” she recalled.
“Being there as someone who’s coming from a different background than the usual performers made it a very special experience.”
Mathlouthi, who is in her 30s, doesn’t situate her sound within the traditions of Tunisian music. Instead, it represents “a new path for music that’s coming from the Arab region,” drawing on the many resources that have influenced her over the years.
Speaking to Arab News, she described the breadth and variety of music from the region, something she hopes her upcoming performance in Liverpool will encourage Western audiences to appreciate.
“I just hope that everyone will follow me through the different voyages during the concert … and let themselves be open to new experiences and discovery without building certain expectations,” she said.
Other popular performers in the 20th-anniversary line-up for the festival, which showcases Arab arts and culture in the northern English city, include Arab electronic hip-hop group 47SOUL and trailblazing duo from the occupied Golan Heights, TootArd.
A performance of “The Shroud Maker,” a satire by Palestinian writer and director Ahmed Masoud, a piece inspired by Liverpudlian-Yemeni poet Amina Atiq and works by Syrian artist Mohammed Amari, are among the other highlights at the event, which celebrates Liverpool’s diverse Arab community.
Mathlouthi’s set will include some of her favorites from her latest album “Ensen” (“Human”). The album was recorded in seven different countries, an expression of the collaborative spirit Mathlouthi brings to her music.
“I don’t think you can record an album in one single place,” she said, adding that her ideal environment to record is anywhere that’s in nature. “There’s no one specific place but I need the quiet. I need to be secluded to be able to reach inside myself.”


French architect showcases AlUla’s heritage in New York exhibition

Updated 10 June 2025
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French architect showcases AlUla’s heritage in New York exhibition

  • The exhibition was opened by Abdullah Al-Hamdan, the Kingdom’s consul general in New York, who spoke about the role of art in encouraging cultural exchange and international understanding

RIYADH: The Didier Aaron Gallery in New York, in collaboration with the Consulate General of Saudi Arabia, is hosting an art exhibition by French architect Jean-Pierre Heim.

The exhibition showcases AlUla’s culture and heritage through a collection of sketches depicting Saudi Arabia’s archaeological landmarks.

It runs until June 20, reported the Saudi Press Agency.

A special event at the exhibition featured Heim speaking about his visits to AlUla and the surrounding region.

It was opened by Abdullah Al-Hamdan, the Kingdom’s consul general in New York, who spoke about the role of art in encouraging cultural exchange and international understanding.

He also noted the value of such exhibitions in sharing aspects of Saudi heritage with a wider audience.

Heim described his design approach as being informed by local culture and geography, emphasizing the integration of architecture with environment, history, and traditions.

The exhibition includes selected architectural drawings by Heim, inspired by his travels to more than 80 countries, including Saudi Arabia, Egypt, Sudan, Jordan, Greece, and China.

 


Emirati artists perform in showcase at London’s Kensington Palace

Updated 07 June 2025
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Emirati artists perform in showcase at London’s Kensington Palace

LONDON: “If we do not tell our story, someone else will. And they will get it wrong,” said Huda Alkhamis-Kanoo, founder of the Abu Dhabi Music & Arts Foundation, following a performance in London on Friday that brought Emirati talent to a major international platform.

Emirati artists took to the stage at Kensington Palace to present a night of operatic performances. Fatima Al-Hashimi, Ahmed Al-Housani, and Ihab Darwish performed in multiple languages including Arabic, Italian and English. The performance was part of the Abu Dhabi Festival’s Abroad program in collaboration with the Peace and Prosperity Trust. The event was intended to promote Emirati cultural expression through classical music and cross-cultural collaboration.

Fatima Al-Hashimi, Ahmed Al-Housani, and Ihab Darwish performed in multiple languages including Arabic, Italian and English. (Supplied)

Alkhamis-Kanoo said an event like this is vital for cultural diplomacy and is not a one-off, but a commitment to placing Emirati talent on the world stage. 

“It’s about creating understanding, building dialogue, and showing the world the strength of our cultural identity through music,” she explained. “We invest in the young, we partner with the world, and we build cultural legacies that last.” 

The evening also included the premiere of Darwish’s latest composition “Ruins of Time,” which blended orchestral arrangements with traditional Arabic elements.

“Music is the fastest way to reach people. It creates peace, it creates understanding,” Darwish told Arab News. “Music removes boundaries. It creates a shared language, a dialogue of coexistence, peace, and tolerance. When people from different cultures come together to create music, it naturally fosters mutual understanding.”

Al-Hashimi explained the intention behind adapting a classical repertoire to reflect Arab identity. “Even while singing in Italian, I included Arabic lyrics to keep our signature present,” she said.

Al-Housani described the event as a “professional milestone,” adding: “Performing here is more than a concert, it’s a message. We’re here to show the world the strength and beauty of our culture.”


Andria Tayeh nominated at Austrian Film Award

Updated 07 June 2025
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Andria Tayeh nominated at Austrian Film Award

DUBAI: Lebanese Jordanian actress Andria Tayeh has been nominated for best supporting actress at the Austrian Film Award for her role in “Mond.” 

The ceremony is scheduled to take place from June 12 to June 15.

Tayeh shared the news with her followers on Instagram, thanking her supporters and the awards organization for the recognition.

She is nominated alongside Italian actress Gerti Drassl and Austrian actress Maria Hofstatter.

“Mond” is directed by Austrian filmmaker Kurdwin Ayub. The film follows former martial artist Sarah, who leaves Austria to train three sisters from a wealthy family in the Middle East. 

What initially appears to be a dream job soon takes a darker turn: The young women are isolated from the outside world and placed under constant surveillance. They show little interest in sports — raising the question of why Sarah was hired in the first place.

Tayeh plays the role of Nour, one of the three sisters. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Andria Tayeh (@andria_tayeh)

The actress, who is also known for her roles in Netflix’s hit series “Al-Rawabi School for Girls,” has had a busy year collaborating with multiple brands and fronting their campaigns.

In February, Giorgio Armani announced her appointment as its new Middle East beauty ambassador.

She took to Instagram to express her excitement: “I am thrilled and honored to embark on this new journey with Armani beauty. This marks a real milestone for me, as the brand embodies values I have always cherished: timeless elegance, dramatic simplicity, and women empowerment.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Andria Tayeh (@andria_tayeh)

That same month, she was named the first Middle Eastern ambassador for French haircare brand Kerastase.

In a promotional clip, she appeared in an all-white studio, answering questions about why she is the ideal Kerastase ambassador. Tayeh spoke in a mix of English, Arabic and French, playfully flipping her hair for the camera as she discussed her dedication to maintaining healthy hair.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Andria Tayeh (@andria_tayeh)

In March, she also fronted Armani’s Ramadan campaign, set against the backdrop of a desert landscape.

Draped in a flowing emerald-green abaya, Tayeh was seen in the video applying the Vert Malachite perfume from Armani Prive as the camera captured the details of the fragrance and her attire. The setting featured sand dunes stretching into the horizon.


Labubu mania sweeps the UAE, CEO of The Little Things says

Updated 07 June 2025
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Labubu mania sweeps the UAE, CEO of The Little Things says

DUBAI: Once just a niche collectible from Asia, Labubus have now become the must-have accessory among youth, influencers and collectors of all ages.

Seen clutched in the hands of BLACKPINK’s Lisa and Rosé, flaunted by Rihanna, and even making cameos in Kim Kardashian’s social media posts, Labubu has found its way into the UAE’s trend-savvy culture.

According to Hassan Tamimi, CEO of The Little Things, the UAE’s official POP MART retailer, the demand for Labubu has reached unprecedented levels.

“Labubu has become more than a collectible here,” Tamimi told Arab News Japan. “It’s a lifestyle statement. We’re seeing people pair them with luxury handbags, sports cars, even use them in wedding shoots.”

But in a region known for its love of luxury and limited-edition goods, the blind box collectible has struck a chord, especially among Gen Z and millennial buyers seeking aesthetic, niche fandom items with resale value.

However, the spike in popularity has brought an unfortunate side effect: a flood of fake Labubu figures infiltrating the UAE market. Counterfeit toys, often dubbed “Lafufu” by collectors, have been circulating online via scam websites and unverified sellers.

“We’ve had several customers walk into our stores with fake Labubus thinking they were real,” Tamimi said. “It’s heartbreaking, especially for those who paid high prices for something inauthentic.”

Tamimi warned buyers to look out for telltale signs: typos on packaging, incorrect paint colors, poor stitching on plushies, or even the wrong number of teeth, authentic Labubu figures always have exactly nine.

To meet the overwhelming demand while keeping things fair, The Little Things has implemented a strict one-piece-per-customer policy. The company has also increased restocking efforts and trained in-store staff to help collectors verify authenticity.

Tamimi also pointed out that Labubu’s appeal lies in the thrill of the hunt.

“The blind box format taps into that collector instinct, there’s excitement, suspense, and FOMO. You never know which figure you’ll get, especially with rarer editions, and that makes each purchase feel like an event,” he told Arab News Japan.

While Labubu has long been a cult favorite in Japan, Tamimi noted that the UAE is quickly becoming a hotspot in its own right. In Dubai and Abu Dhabi especially, Labubu fans are forming communities, trading figures and sharing unboxings and display setups online.

“What’s happening here mirrors what we’ve seen in Tokyo,” he added. “The only difference is access, Japan often gets first dibs on regional exclusives. But that scarcity is part of what makes collecting in the UAE so exciting.”

As for those looking to join the Labubu craze, Tamimi has one piece of advice: stick to official sellers.

“If it’s too cheap or too easy to find online, it’s probably fake. Trust verified stores. The magic of Labubu is in the real thing.”

- This article was first published on Arab News Japan. 


Saudi artist Abdullah Al-Othman discusses work exploring linguistic architectural landscapes

Updated 07 June 2025
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Saudi artist Abdullah Al-Othman discusses work exploring linguistic architectural landscapes

DUBAI: In the Bawwaba section of the most recent edition of Art Dubai, Saudi artist Abdullah Al-Othman’s installation “Manifesto: Language & the City II” presented photographs and numerous illuminated signs and symbols in Arabic against two black walls, reflecting the urban signage one may find in Riyadh.  

The installation was an evolution of a series that includes 2021’s “Manifesto: the Language and the City,” a multimedia installation exploring the linguistic and architectural landscape of Riyadh for the inaugural Diriyah Contemporary Art Biennale, which went on to be included in the Lyon Biennale in 2022, and “Fantasy Land,” which Al-Othman created for the Sharjah Islamic Arts Festival in 2021 — a neon wall installation exploring themes of human experience and the shifts between reality and illusion. 

Abdullah Al-Othman’s installation “Manifesto: Language & the City II” presented photographs and numerous illuminated signs and symbols in Arabic. (Supplied)

“Language & the City II” pulsed with light and color and the expressive characters of the Arabic language made the viewer feel as if they were indeed on a bustling street in the Saudi capital. “Language is akin to history — it’s very deep,” Al-Othman tells Arab News. “Through my research I realized how language is like a brand for a culture — it references history and people. I study the language that we find in cities. The documentation of language affects the architectural style in an urban environment and the relationship between people and their environment.”  

“Language & the City II” was made from a variety of materials, predominantly neon signage, lightboxes and wooden advertising signs that were once hung in the streets of Riyadh. Al-Othman’s installation brought them together to create a portrait of the city through its typographic, visual and architectural styles. 

Riyadh’s identity, explains Al-Othman, is revealed through the language, style and vibrant colors of these lit symbols, offering a collective memory of a city in the throes of change. 

Abdullah Al Othman at Art Dubai Manifesto Language and the City II for Bawwaba. (Courtesy Artist and Iris Projects. Credit Ismail Noor for Seeing Things)

As an artist and a poet, language has always played an important role in Al-Othman’s life. While he began as a writer, he arrived at a point where he could no longer fully express himself with words and turned to art, creating works that incorporate sound, found objects, sculpture, film and performance.  

In 2017’s “Suspended Al-Balad,” for the 21,39, contemporary art festival, Al-Othman wrapped an entire building in Jeddah’s historic Al-Balad district, originally used as a shelter for widows and divorced women, with tin foil.  

Al Othman’s intuitive approach to art creation leads him to organically move between and incorporate different mediums. Light is a significant element in his work, whether bouncing off tin foil or shining in neon to reflect the everyday urban environment of Riyadh.  

Pieces from Al-Othman's latest project, 'Engineering the Unknown.' (Supplied)

“I want to create journeys for people to discover the importance of language,” says Al-Othman. “Language is a deeply important part of being human.” 

Today Al-Othman continues to expand his research and art creation. He has recently published a book on his research supported by The King Abdulaziz Center for World Culture (Ithra) and the Saudi Cultural Development Fund.  

Presently he is creating sculptures out of various Arabic words from made from different materials for his latest project, “Engineering the Incomplete.” 

“In my artistic practice, I engage with language as an open field for analysis and reconstruction,” he writes in his statement for the new project. “I begin from moments of absence — from missing letters and fractured words — treating them as signals of the fragility inherent in the symbolic systems we rely on to make sense of the world.  

Al-Othman's 'Manifesto - The Language & The City' at the 2022 Lyon Biennale. (Supplied)

“Failure to achieve perfection becomes an essential part of creation, not a flaw to be corrected,” he continues. “Incompleteness is not simply a void, but an active component that generates new, open-ended meanings. Each missing letter, each visual gap, forms an alternative path of reading and invites the viewer to reshape their relationship with language and the urban environment.” 

“Engineering the Incomplete” uses the structure of the letter as an entity capable of both disintegration and destruction and therefore the resulting text as something that is unstable and constantly changing.  

“My practice transforms language from a tool of communication into a material and temporal organism caught in the tension between structure and collapse,” Al-Othman adds. “Through material techniques that draw from urban elements and the reconfiguration of textual spaces, my work seeks to highlight the continuous tension between the desire for expression and the inherent limits of linguistic possibilities.” 

Al-Othman says that “Engineering the Incomplete” is not an attempt to restore what is lost, but an invitation to read absence, or lacking, as another form of presence and a new beginning. 

Incompleteness, he emphasizes, offers “a way to produce new meaning and vision.”