What We Are Reading Today: The Power of Cute by Simon May
We usually see the cute as merely diminutive, harmless, and helpless
Updated 27 February 2019
Arab News
Cuteness has taken the planet by storm. Global sensations Hello Kitty and Pokemon, the works of artists Takashi Murakami and Jeff Koons, Heidi the cross-eyed opossum and E.T. — all reflect its gathering power. But what does “cute” mean, as a sensibility and style? Why is it so pervasive?
Is it all infantile fluff, or is there something more uncanny and even menacing going on — in a lighthearted way? In The Power of Cute, Simon May provides nuanced and surprising answers, says a review on the Princeton University Press website.
We usually see the cute as merely diminutive, harmless, and helpless. May challenges this prevailing perspective, investigating everything from Mickey Mouse to Kim Jong Il to argue that cuteness is not restricted to such sweet qualities but also beguiles us by transforming or distorting them into something of playfully indeterminate power, gender, age, morality, and even species.
May grapples with cuteness’s dark and unpindownable side — unnerving, artful, knowing, apprehensive — elements that have fascinated since ancient times through mythical figures, especially hybrids like the hermaphrodite and the Sphinx.
He argues that cuteness is an addictive antidote to today’s pressured expectations of knowing our purpose, being in charge, and appearing predictable, transparent, and sincere. Instead, it frivolously expresses the uncertainty that these norms deny: The ineliminable uncertainty of who we are; of how much we can control and know; of who, in our relations with others, really has power; indeed, of the very value and purpose of power.
Princess Rajwa visits art gallery in Amman with Queen Rania
Visit marks another public engagement in Princess Rajwa’s calendar
Naqsh Collective was founded in 2009 by two sisters, Nisreen and Nermeen Abudail
Updated 53 min 40 sec ago
Arab News
DUBAI: Saudi-born Jordanian royal Princess Rajwa Al-Hussein visited Amman-based art gallery Naqsh Collective on her first joint engagement with her mother-in-law Queen Rania, on Sunday.
“Exquisite local designs, handcrafted with love. Had a lovely time with Rajwa at the Naqsh Collective workshop yesterday,” Queen Rania’s team posted on Instagram shortly after the visit.
The pair posted in front of an artwork titled “Wall Runner” at the gallery, which presents design works and artworks.
Naqsh Collective was founded in 2009 by two sisters, Nisreen and Nermeen Abudail. The gallery has participated in national and international events such as Milan Design Week, Amman Design Week, Design Days Dubai, and Saudi Design Week.
The visit marks another public engagement in Princess Rajwa’s calendar. Last week she attended a ceremony marking the inauguration of the first ordinary session of the 20th parliament in Amman, her second public appearance since the birth of her first child this summer.
The royal showed off an elegant black ensemble for the occasion, complete with an oversized belt by Dior and pumps by Chloe. The look was finished off with the Goji mini bag in black by Jill Sander.
Princess Rajwa was photographed alongside Queen Rania, who showed off a red look courtesy of Maison Valentino and Altuzarra.
Princess Rajwa made her first public appearance since the birth of Princess Iman bint Al-Hussein bin Abdullah II at a 2026 FIFA World Cup qualification match in October.
The royal welcomed her first child, Princess Iman, with Crown Prince Hussein bin Abdullah on Aug. 3.
Jordan’s King Abdullah posted a tribute to his granddaughter on social media to mark the occasion. Translated from Arabic, the post read: “I thank God for giving us our first granddaughter Iman bint Hussein. I congratulate beloved Hussein and Rajwa for their newborn.”
Princess Rajwa, who celebrated her 30th birthday in April, is the daughter of Saudi businessman Khalid bin Musaed bin Saif bin Abdulaziz Al-Saif, who died in January this year, and his wife, Azza bint Nayef Abdulaziz Ahmad Al-Sudairi.
Ithra conference in Saudi Arabia shines spotlight on vibrant Islamic arts
Conference seeks to highlight how traditional crafts can inspire innovative solutions in areas such as design, business and urban development
Adding to the immersive experience, three specially curated films explore the artistry and history of Islamic crafts
Updated 25 November 2024
Hind Al-Khunaizi
DHAHRAN: The King Abdulaziz Center for World Culture, also known as Ithra, is hosting the second Islamic Art Conference from Nov. 25-30.
In partnership with the Abdullatif Al-Fozan Award for Mosque Architecture, the theme of this year’s event is “In Praise of the Artisan.” Featuring 50 participants from 14 countries, including 27 distinguished speakers, the conference will explore the connection between heritage and innovation in Islamic art.
From panel discussions to live demonstrations, and with a diverse lineup of artists, historians, curators and academics, the program offers attendees an opportunity to engage with the artistry and history of Islamic craftsmanship.
There are thought-provoking lectures, hands-on workshops and interactive demonstrations, all designed to immerse visitors in the beauty and intricacy of Islamic art forms. A central theme this year is the vital role played by artisans in preserving cultural heritage while adapting to contemporary challenges.
Through these discussions, the conference seeks to highlight how traditional crafts can inspire innovative solutions in areas such as design, business and urban development.
Running alongside the event is the “In Praise of the Artisan” exhibition. This display of historical artifacts and contemporary works highlight the timelessness of Islamic artistry through media ranging from ornate wood carvings and luminous textiles to intricately painted ceramics and dazzling metalwork. For those eager to learn skills for themselves, there are workshops on crafts such as embroidery, wood carving and sailboat crafting.
Adding to the immersive experience, three specially curated films explore the artistry and history of Islamic crafts, delving into the lives of artisans and the cultural significance of their work. Each screening is followed by a discussion with the filmmakers.
Beyond the main exhibition, Ithra’s plaza will host eight mini-exhibits in collaboration with institutions such as The Heritage Commission, The Royal Institute of Traditional Arts, and The General Authority for the Care of the Two Holy Mosques. These highlight regional crafts from across the Islamic world, such as Turkey and Egypt, emphasizing the event’s global nature.
Prominent voices such as Dr. Mashary Al-Naim, Dr. Mahmoud Erol Kilic and artist Ahmad Angawi will lead debates on the challenges and opportunities artisans face in preserving their crafts in an era dominated by mass production. Topics will include the integration of craftsmanship into modern business models and the role of artisans in sustainable urban development.
The conference also emphasizes the potential of traditional crafts to drive social change. By fostering collaboration between artisans, designers and cultural institutions, it creates pathways for them to thrive in contemporary markets while maintaining their historical integrity.
One highlight is the work of Dhai Ibrahim Al-Otaibi, a rising star in the art of Naqda embroidery. Known for her innovative approach, Al-Otaibi blends the opulence of traditional silver and gold threads with modern fashion aesthetics.
“Naqda embroidery signifies a critical aspect of Saudi cultural identity, especially in the Eastern and Central regions,” Al-Otaibi told Arab News.
“By reinterpreting these methods, I hope to make this craft more accessible to new generations while preserving its authenticity.”
Al-Otaibi began her journey as an apprentice under the guidance of artisan Sarah Al-Dosari and is one of only 14 of Naqda embroidery practitioners in Saudi Arabia. Her contributions to the exhibition not only show her personal artistry but also underscore the enduring relevance of this centuries-old craft.
“In Praise of the Artisan” will continue at Ithra until December 2027, providing plenty of opportunity to experience the splendor of Islamic arts and their evolving role in a modern world.
Guerlain perfumer talks Arab perfume traditions in Riyadh
Updated 25 November 2024
Sulafa Alkhunaizi
RIYADH: Thierry Wasser, the in-house perfumer of French luxury beauty brand Guerlain, sat down with Arab News on a recent visit to Saudi Arabia to talk all things fragrance at the reopening of the flagship Guerlain boutique in Riyadh Park.
The perfumer shared his insights on the differences between typically Middle Eastern scents and their European counterparts and even touched on his previous visit to Taif in the Kingdom, which is famous for its distinct roses grown at high altitudes.
“When you go to each one of these countries, you try to discover what sent speaks for that country,” Wasser explained of his globe-trotting agenda.
“For example, in Saudi Arabia, I think it's myrrh and I also think it's agarwood. In France, for some reason, I think it's lavender,” he added.
The perfumer shared his experience of visiting Taif’s 1,800-meter-high Al-Sarawat Mountains, home to the Taif Rose variety, saying “It's a zig zag when you go … sometimes you have a place you don't expect the altitude to be so high.”
With more than 200 perfumes to his name, the perfumer revealed his favorite scent as Habit Rouge by Guerlain, an oriental woody perfume with notes of earth, warm leather, and the forest, launched in 1965 by the iconic Jean-Paul Guerlain.
“It's like a shining armor. It was a disguise of a man, a manly, masculine disguise. It shaped me. My attitude changed … I kept it all my life like a lucky charm,” he said.
Wasser's journey with the brand began in 2008, when was appointed as the first non-Guerlain family member to be the in-house perfumer of the storied house founded in 1828.
“When you manufacture and source it, you get intimate with the formula and the fragrance from your predecessors and you are responsible for the integrity of them,” he said.
“I want to talk about the Middle East and about how perfume is expressed in the Middle East. They have a deep, intense love for very strong fragrances,” he noted, adding that he quickly learned fragrance is typically applied on clothing in the region, as opposed to directly on the skin, which is common practice in Europe.
“So I changed my approach and I made all my trials on cotton handkerchiefs,” he explained.
The fragrance house's iconic bee emblem reflects a commitment to sustainability. In 2021, Guerlain became one of the first luxury houses to join the Union for Ethical BioTrade and initiated a verification process for 50 natural ingredients.
“Sustainability is not exactly a marketing tool or communication tool, it is a state of mind,” Wasser said.
Keke Palmer shows off vintage Azzedine Alaia look in New York
Updated 25 November 2024
Arab News
DUBAI: US actress and author Keke Palmer made an appearance on “The Drew Barrymore Show” in New York this week wearing a vintage look by late Tunisian couturier Azzedine Alaia.
Hailing from his Spring/ Summer 1986 ready-to-wear collection, the denim power suit featured a cross-body zipper, oversized sleeves and statement lapels.
Based in Paris, Alaia shot to international fame in the early 1980s and was quickly dubbed the “King of Cling.” Alaia won the Designer of the Year and Best Collection of the Year prizes at the Oscars de la Mode by the French Ministry of Culture in 1985.
Palmer showed off the look as she promoted her new book, “Master of Me.”
The “Nope” actress released the book in November and has been promoting the title at various media appearances, including on “The Drew Barrymore Show.”
In a conversation with Barrymore, the pair connected about the experience of being child stars, with Palmer stating “I’m not a victim, I’m a victor” after she praised her parents for supporting her career, which began with 2004’s “Barbershop 2: Back in Business.”
“In her own raw and intimate words, Keke talks about everything from her struggles with boundaries to unconditional love, forgiveness, and worthiness,” the book’s description reads.
“Throughout the book, Keke also poses readers with the questions needed to get them through their own challenging times by sharing personal stories and lessons she’s learned along the way,” the blurb adds.
Palmer also sat down with US Iranian actress Yara Shahidi to discuss the book.
She took to Instagram shortly after the sit down, saying: “One of my favorite girls @yarashahidi discussed the themes of my book ‘Master of Me’ this past week. We had a great conversation in Boston around her old stomping grounds at Harvard! The excitement around the Many Masters Tour and the people I get to speak to is that we learn there are so many unique paths that lead to self-mastery and the exciting part is in creating your own path.”
‘Disney movies unite us,’ says Louaye Moulayess as he promotes ‘Moana 2’
Updated 24 November 2024
Shyama Krishna Kumar
DUBAI: From a young age, Lebanese animator Louaye Moulayess has loved Disney movies.
Speaking to Arab News about his latest project, “Moana 2,” which is released in cinemas in the Middle East on Nov. 28, Moulayess said diverse voice is what makes Disney storytelling so compelling.
From a young age, Lebanese animator Louaye Moulayess has loved Disney movies. (Supplied)
“We all grew up with different kinds of stories told to us, right? I grew up with specific Lebanese stories. For example, if I turned on the TV in Lebanon as compared to somebody in Lisbon, for example, we’re going to watch different things. Our sensibilities are going to be a bit different. Now we all have something in common, which is Disney movies,” he told Arab News.
At a time when his home country, Lebanon, is defending against Israeli attacks, US-based Moulayess finds comfort in his work and storytelling. “It all comes back to the stories my grandparents and parents told me,” he said, adding that Disney movies have always brought him hope.
“Moana 2,” set in ancient Polynesia, picks up three years after the events of the 2016 original. Moana (voiced by Auli’i Cravalho) receives an unexpected call from her wayfinding ancestors and forms her own crew to travel the vast seas of Oceania, reuniting with her shapeshifting, magical friend, Maui (Dwayne Johnson).
“I loved the first movie. When I started working on ‘Moana 2,’ I felt like I already knew the characters very well. So, I knew Moana and I knew Maui … I knew how they moved, I knew what their personalities were. But, at the same time, they became somebody else three years after.
“So, the challenge was a bit different compared a new movie, where we would have had to figure out the characters and how they moved and how they behave. The challenge here was, I know this character, but this character has changed. How do we make it new and find the specificity of this new personality?” Moulayess said.
When asked what sparked his interest in animation, Moulayess pointed to Disney again. “I think the moment I made my decision was after watching ‘Lion King.’ Like the first sequence of the ‘Circle of Life,’ after that when everything goes black and you see the title of the movie. It really shocked me in the best way. I was like, ‘Who is this Walt Disney?’ I thought it was one person doing this back when I was a kid, because I saw the name Walt Disney. I was like, ‘It must be one person doing this.’ And I decided I’d do this one day. So, this is what triggered everything. And slowly, I just gravitated towards animation,” he said.
Now based in Burbank, California, Moulayess left Lebanon for the US as a young student.
“In Lebanon, when I graduated high school, I looked around for majors that had animation, but back then, there wasn’t anything available. Now there are a couple schools that offer animation majors.
“Back then, I knew I had to leave to make my studies, so I went to San Francisco and joined a school called Academy of Art University in San Francisco,” Moulayess said.
After four years of university, Moulayess landed himself an internship with Pixar Animation Studios. “I was very, very lucky that I did an internship there, where I worked on ‘Cars 2,’” he said.
From there, he moved on to Blue Sky Studios for “seven wonderful years,” working on the “Ice Age” films, “The Peanuts Movie” and “Ferdinand,” before making his way to Disney in 2019, working on “Frozen 2” before taking on “Raya and the Last Dragon.”
