Calligraphy artist Wissam Shawkat seeks to break the mold after mastering classic styles
Updated 30 March 2020
Arab News
DUBAI: “If you continue practicing calligraphy in its traditional scripts, that’s a limitation by itself,” Iraqi artist Wissam Shawkat told Arab News while explaining the need to master the craft and then innovate to push Arabic calligraphy into the future.
“I mean I am not against learning traditional scripts. I’ve been doing calligraphy for almost 35 years, but I arrived to a point that if you continue like doing only traditional scripts at the end you are just copying what's been done 100 years ago,” Shawkat, who is based in Dubai, explained.
'Lost in Love' by Wissam Shawkat. (Supplied)
The artist’s passion for calligraphy started in 1984, when his art teacher decided to, for a day, teach them the skill instead of drawing, he said. “So, he held the chalk on the side and wrote four letters of Ruqa’a style, which is (a) very basic style in calligraphy, but as a kid this has a very big impact on me,” Shawkat said. It was then Shawkat learned to appreciate the beauty of the Arabic letter — “aalligraphy became an obsession,” he said.
'Quad Love' by Wissam Shawkat. (Supplied)
After training as a civil engineer, Shawkat decide to switch careers and dived into life as a calligraphy artists. And he achieved fame along the way, having worked with the likes of Tiffany & Co. and Hermes.
'Something' by Wissam Shawkat. (Supplied)
“Usually, the traditional way of learning calligraphy comes with the relationship of the master and the student. You have like a master, you study with him, (and) he guides you in certain forms.” But as a child, Shawkat did not have the “luxury” of having an educator. So, according to him, he had to depend on himself to learn the ins and outs of the notoriously laborious and strict art form.
'Loving Heart 3' by Wissam Shawkat. (Supplied)
In 2014, Shawkat broke the mold by creating his own calligraphy style, Al Wissam, which references a number of traditional scripts, including Sunbuli, Jali Diwani, Eastern Kufic and Thuluth.
Sister act: Saudi sibling filmmakers Raneem and Dana Almohandes talk musicals, inspiration and telepathy
Updated 20 December 2024
Shyama Krishna Kumar
JEDDAH: A trip to Saudi Arabia’s AlUla, a chance encounter with a persistent mosquito on the streets of New York and an enduring love for musicals inspired Saudi filmmaking sisters Dana and Raneem Almohandes to create their animated short film “A Mosquito,” which screened at the recently concluded Red Sea International Film Festival in Jeddah.
“We were walking in New York, having a good time, and there was this mosquito who kept coming back to me,” explained older sister Raneem. “This is how it all started, with one question: ‘What does this mosquito want?’ We thought, ‘She wants to talk to us, but we’re not giving her the chance.’ So, that’s where the story was born.”
Set in 1969, “A Mosquito” follows Zozo — a tiny mosquito with big dreams. While her peers are content with ordinary life in the majestic landscapes of AlUla, Zozo dares to dream of becoming a famous singer — heading to Egypt to sing before the legendary Umm Kulthum.
“A Mosquito” began life as a two-minute short — part of Raneem’s university project. It turned into its fully realized version after they took their idea to the AlUla Creates program, a local initiative that provides funding, mentorship and networking opportunities for Saudi filmmakers and fashion designers.
“When AlUla invited us to apply, we had this idea already, and we wanted to expand on it, because, you know, university projects are victims of time and resources. We developed the story with the AlUla Creates team,” said Raneem.
“We went to AlUla earlier, and we captured the aesthetics from there. The frames that you see in the film are identical to the pictures we took during our trip,” added Dana.
Raneem graduated from New York University in musical theater writing (Dana, the younger of the two, is studying filmmaking at Princess Nourah Bint Abdul Rahman University in Riyadh). “We grew up watching musicals, but we felt like we don’t have any that are in the Saudi dialect, so we wanted to create (them),” said Raneem. “That’s why I studied musical theater writing.
“We’ve always loved expressing ourselves through art. For example, Dana will do a dance whenever she wants to express how she feels about someone. Like, for my birthday, she would do a choreographed dance. I used to do small videos for our family — sometimes they’re music videos, sometimes short films … this is how we started. And then I started an Instagram page for DIY videos, and we worked together on it. It was one of the first (Instagram accounts) to reach 1 million followers in the Middle East,” said Raneem. “Dana was, like, 10 years old back then.”
Before they had received any formal training, the duo were chosen as For Change Ambassadors of Saudi Arabia. The screenplay for their first musical feature (“Dandana”) was shortlisted in the second round of Sundance’s Screenwriters Lab 2020. Their first short, “A Human,” was funded by Google and premiered in Riyadh.
The sisters reiterate that their filmmaking career is closely tied to the history of cinema in the Kingdom.
“We put ‘A Human’ up on YouTube in parallel with Saudi Arabia opening its cinemas again,” Raneem said. It went on to become one of the first 100 films to be shown in cinemas after they reopened in the country and, according to Raneem, the very first short film.
In 2022, the pair wrote and directed the musical short “A Swing,” which was selected for the official competition at the Saudi Film Festival and was screened as part of the Kingdom’s participation at Cannes in 2022.
Despite the eight-year age gap between the two sisters, the duo say they have a seamless working relationship.
“We sometimes fight, as all sisters do, but we have telepathy most of the time,” said Raneem. “We are in sync in terms of ideas. Filmmaking is all about communication.”
Working as two young women in the Saudi film industry is, Dana said, “magical.” Raneem agreed.
“It’s overwhelmingly beautiful, because the support is magnificent,” she said. “Each and every project and idea that we’ve had, we knew for a fact that if we approached the right decision maker, it would happen.”
REVIEW: ‘S.T.A.L.K.E.R. 2: Heart of Chornobyl’ tells a story of resilience and survival
Updated 20 December 2024
James Denselow
LONDON: “S.T.A.L.K.E.R. 2: Heart of Chornobyl,” developed by Ukrainian studio GSC Game World, stands as both a gripping survival adventure and a reflection of real-world resistance in the face of adversity.
The game’s development faced significant challenges, with the studio partially relocating to the Czech Republic due to the ongoing conflict in Ukraine. This struggle has imbued the game with poignant cultural references and an atmosphere shaped by the harsh realities of its creators’ circumstances.
Players assume the role of Skif, a Ukrainian Marine Corps veteran drawn into the “Zone,” a dystopian take on the Chernobyl exclusion zone. In this alternate universe, the infamous nuclear disaster unleashed not only radiation but also space-time anomalies and a host of mutated threats.
The Zone is merciless, and so is the gameplay. Stalkers — explorers of this treacherous area — must navigate its dangers in pursuit of adventure, profit or ideology. The game emphasizes survival, with a steep learning curve that demands careful planning. From radiation and traps to scarce resources and malfunctioning weapons, every step is fraught with danger. Deaths are frequent and the game tracks your fatalities, adding to the sense of vulnerability.
The game shines in its atmospheric design and mechanics. The 64 sq. km open-world setting is a stunning yet haunting playground for chaos. Weapon handling is top notch, and the enemy AI is intelligent and challenging. The various human factions and mutant creatures add layers of unpredictability to the experience, while side missions pile up in classic open-world fashion.
However, the game is not without its flaws. Some elements feel restrictive, limiting creativity in problem-solving. For instance, mutant dogs may attack you relentlessly while ignoring nearby enemies. Invisible anomalies that kill instantly and radiation-related deaths can feel arbitrary, especially early on when resources like health kits and food are scarce. Additionally, the dialogue leans on cliches, which may detract from the storytelling for some players.
Despite its challenges, “S.T.A.L.K.E.R. 2: Heart of Chornobyl” offers a deeply rewarding experience for those willing to persevere. The unforgiving difficulty and grounded survival mechanics create a palpable sense of tension, while the evocative setting offers a mix of chaos and beauty. Fans of open-world games, particularly those craving a grittier and more challenging experience, will find much to appreciate.
Born out of extraordinary circumstances, it is more than just a game — it’s a testament to the resilience and creativity of its developers. Stick with it, and you will discover a truly unique title forged in the most difficult of times.
Imposing ‘dala’ pickup trucks symbolize Pakistan’s power gulf
Hilux has become a symbol of power, affluence and intimidation in a society marked by significant class divisions
“Dala,” as it is locally known, also serves as euphemism for military intelligence agencies involved in covert operations
Updated 20 December 2024
AFP
KARACHI: In Pakistan’s largest city, cars inch forward in bumper-to-bumper traffic. But some seamlessly carve through the jam: SUVs flanked by Toyota Hilux pickup trucks.
The Hilux has become a symbol of power, affluence and intimidation in a society marked by significant class divisions.
“The vehicle carries an image that suggests anyone escorted by one must be an important figure,” 40-year-old politician Usman Perhyar told AFP.
“It has everything — showiness, added security and enough space for several people to sit in the open cargo bed.”
This photograph taken on November 12, 2024 shows security personnel riding on the back of a Toyota Hilux pick-up truck locally known as 'Dala', bearing a flag of Pakistan Peoples Party (PPP), along a street in Karachi. (AFP)
On Karachi’s chaotic roads, Hiluxes part the traffic, speeding up behind cars and flashing their lights demanding drivers move out of their way.
The Hilux first became popular among feudal elites for its reliability in rural and mountain regions.
But in recent years, the “Dala,” as it is locally known, has soared in popularity as an escort vehicle among newly successful urban business owners.
Guards with faces wrapped in scarves and armed with AK-47s can be packed into the back of the truck, its windows blacked out.
“It is a status symbol. People have one or two pickups behind them,” said Fahad Nazir, a car dealer based in Karachi.
This photograph taken on November 11, 2024 shows local politician Usman Perhyar (L) driving a Toyota Hilux pick-up truck locally known as 'Dala', along a street in Karachi. (AFP)
The Hilux debuted in 1968, but the model that became popular in Pakistan was the mid-2000s Hilux Vigo.
It was later upgraded and rebranded as the Revo, with prices ranging from 10 to 15 million rupees (approximately $36,000 to $54,000).
Their prices have remained steady and they retain excellent resale value in a market traditionally dominated by their manufacturer, Toyota.
“Amongst whatever luxury items we have, this is the fastest-selling item,” car seller Nazir told AFP.
This photograph taken on November 20, 2024 shows politician Ali Warraich escorted by his private security personnel on a fleet of Toyota vehicles, to a meeting with residents in Gujrat, Punjab province. (AFP)
Dealers say there was a spike in rentals during February’s national elections.
“I swear to God, you can’t run an election without a Revo,” said Sajjad Ali Soomro, a provincial parliamentarian from Imran Khan’s Pakistan Tehreek-e-Insaf (PTI) party.
In the eastern city of Gujrat, politician Ali Warraich — from the ruling Pakistan Muslim League-Nawaz party — finds it essential to travel with an escort of two of the trucks.
They allow him to navigate off-road terrain to attend dozens of weddings and funerals a month.
“Politics without this vehicle has become nearly impossible,” he tells AFP. Without one, he argues, potential supporters could question his influence and turn toward competitors.
“As a result, it has become a basic necessity,” he said.
This photograph taken on November 12, 2024 shows paramilitary personnel riding on the back of a Toyota Hilux pick-up truck locally known as 'Dala', as they patrol along a street in Karachi. (AFP)
The truck has also become a trademark in the suppression of dissenting voices, activists told AFP, with the word “Dala” serving as a euphemism for military intelligence agencies involved in covert operations.
The unmarked cars with plainclothes men inside were used extensively by authorities rounding up senior PTI leaders and officials in recent crackdowns — reinforcing the vehicle’s notorious reputation.
“Every time I see this vehicle on the road, I go through the same trauma I endured during my custody with agencies,” said one PTI member who was picked up earlier this year.
Former leader Khan was bundled into a black Dala by paramilitary soldiers when he was arrested in May 2023 in the capital Islamabad, a detention he blamed on the powerful military leadership.
He later accused political heavyweight and three-time prime minister Nawaz Sharif of trying to win the election “through Vigo Dala” — a swipe alleging the military was “carrying” his campaign.
Pakistani poet and activist Ahmad Farhad, known for criticizing the military’s involvement in politics, was taken away in a Hilux after a raid on his home in May by what he said were intelligence agencies.
“Sometimes, they park these vehicles around or behind my car, sending a clear message: ‘We are around’,” he told AFP. “A Dala aligns with their business of spreading fear, which they take great satisfaction in.”
In Karachi, a city rife with street crimes, the imposing Dala deters even outlaws.
“A typical mobile snatcher would opt for maybe looting a car as opposed to a truck,” said 35-year-old automobile enthusiast Zohaib Khan.
Increased street crime has led to more security checks by police, further slowing down movement across the city. But Hiluxes are immune.
Police “don’t typically stop me because they feel that I might be someone who might impact them in a bad way or harm them in some way or the other,” Khan said.
British historian explores Nabateans’ ‘cool culture’ in documentary
Bettany Hughes’ series ‘Lost Worlds’ travels through AlUla, Europe and Petra
Updated 19 December 2024
Shyama Krishna Kumar
JEDDAH: For British historian Bettany Hughes, the story of the Nabateans is as vital as those of the ancient Greeks, Romans or Egyptians.
In a new three-part series, “Bettany Hughes' Lost Worlds: The Nabataeans,” Hughes traces the titular civilization’s incense trade routes from the Arabian Peninsula to the Mediterranean, accessing newly revealed research across Saudi Arabia’s Al Ula, Jordan, Greece, Italy and Oman.
“For me, you can’t understand the classical world unless you understand the Nabataeans — they are the missing link in the story of society, because, in many ways, they were the engine that drove many other civilizations. They connected the far edges of the Arabian Peninsula with the center of Europe, and without them, that line of connection wouldn’t have happened,” Hughes told Arab News on the sidelines of this month’s Red Sea International Film Festival, where the show’s first episode was screened.
Her decades of research have revealed that Petra, the Nabateans’ iconic capital, was just a small part of a vast empire that is only now revealing its secrets.
“When you say, ‘These are the guys that built Petra,’ then people go, ‘Oh, yeah. I always wondered.’ But that’s why we’re doing this series; to remind the world that they have this whole other story, whole other centers of operation. And to try to write them back into history. They’re a very cool culture. I’m very impressed by them.
“They love happiness. They love liberty. Women seem to have a really strong role in their society. They’re all about trade and communication — and therefore understanding people beyond borders and boundaries. So, I think there’s a lot that we can learn from them as a culture,” she continued.
Hughes’ entry point to the Nabateans came almost three decades ago.
Hughes with local desert guides in Wadi AlFann, AlUla. (Supplied)
“It was initially through trying to do detective work on the trade network,” she explained. “I knew that the Romans were obsessed with incense. I knew that Tutankhamun was buried with incense balls in his tomb. And I thought, ‘So, who’s delivering that?’ Because I also knew that incense came from that southern edge of the Arabian Peninsula. So, who was in charge?
“And then I saw this coin of Aretas IV, who was probably the most powerful of all the Nabatean kings. And Huldu, his queen, was also on the coin. And I just thought that that doesn’t happen often. That’s really interesting, so I needed to get to the bottom of their story,” Hughes added.
And since Saudi Arabia’s AlUla has been opened up to the outside world over the past few years, Hughes jumped on the opportunity to learn more about the civilization that’s recurrently appeared on the edges of her research efforts.
She first travelled to the historic site in 2022, heading deep into the deserts of AlUla, even spending time with the still-existing Bedouin communities there, tracing how the Nabateans traversed the harsh landscape with their camels and the stars as guides.
The first episode of “Lost Worlds” is dedicated entirely to AlUla, in the second episode they visit Europe, before heading to Petra in the third and final episode.
Hughes credited her love for history to one of her schoolteachers.
“When I was growing up, history wasn’t fashionable. People would say, ‘Oh, it’s irrelevant. All the answers lie in the future.’ And I just knew that couldn’t be true — that there was this reservoir of ideas and inspiration and understanding that came in the past,” she said. “And then I had a brilliant teacher who said, ‘Go for it. Even if you’re unpopular, even if people are saying no, make it happen.’ That kind of gave me the confidence to plow ahead.
“I then went to Oxford to study history, and I was very aware that in the official stories of the world that I was reading as a student, women didn’t feature very much. Even though I knew, obviously, we’d been 50 percent of the human population forever, we only occupied a tiny percentage of recorded history. So I felt that was something I could help with,” she continued. “I don’t just write about women’s history, but I’m always looking for the gaps — and the story of the female role in history is one of those gaps that needs filling.”
Review: ‘Carry-On’ fails to deliver on its festive promise
Netflix thriller with Taron Egerton and Jason Bateman starts strong, but fizzles
Updated 19 December 2024
Matt Ross
LONDON: Netflix has absolutely missed a trick with the marketing for new thriller “Carry-On”. Instead of billing it as a slick, tense action-adjacent movie starring Taron Egerton and Jason Bateman, the bosses at the streaming giant should have pitched it as a modern interpretation of the greatest Christmas movie of all time — because for the first 45 minutes or so, “Carry-On” feels like the spiritual successor to “Die Hard” (or maybe “Die Harder,” given the airport setting).
Egerton is Ethan, a disenfranchised TSA agent who dreams of being an LA cop. When monitoring bags at a packed Los Angeles airport on Christmas Eve, he is contacted by a mysterious traveler (Bateman) who gives him a simple choice: let a specific suitcase through the scanners, or the traveler will have Ethan’s pregnant girlfriend killed. What follows is a cat-and-mouse couple of hours with Ethan surreptitiously trying to raise the alarm and find out what’s in the bag, while his boss, colleagues, girlfriend and LAPD detective (Danielle Deadwyler) try to figure out why he’s acting so strangely.
And for that first 45 minutes, it’s an absolute riot – the sparky back-and-forth between Egerton and Bateman sizzles, and the sense of futility is palpable as Ethan realizes that the traveler has predicted his every move. Then, there follows one of the most ludicrously staged highway set pieces in recent movie history which, rather than upping the ante, turns “Carry -On” from a cagey, sweaty thrill ride into a zany, cartoony mess. Ethan goes from terrified everyman to buff action hero in a way that worked for Bruce Willis in 1988, but simply falls flat here. The plot, such as it is, just sort of gives up — Bateman’s villain insists that he doesn’t know the reasons for the bag caper because he doesn’t need to know, which feels a little lazy, given the effort put into the convoluted web of blackmail.
There is a positive though: despite coming off the rails in its second half, “Carry-On” is inarguably a Christmas movie. And as a result, it’s at least 10 times better than the majority of holiday dross currently cluttering up the streaming platforms. It’s just a shame that this isn’t going to be one of the best movies of the entire year— which seems like a possibility at one stage— rather than just the festive season.
