Beautiful Botswana: Exploring the Okavango Delta

Nearby is one of Botswana’s most famous lodges: Belmond Savute Elephant Lodge. (Shutterstock)
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Updated 01 May 2021
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Beautiful Botswana: Exploring the Okavango Delta

  • With the pandemic decimating the tourist industry, locals are delighted to welcome visitors back to this magnificent wildlife haven

OKAVANGO DELTA: Reclining in the middle of a dug-out canoe, slicing through a clump of reeds that gives way to a large open pond covered in lily pads, the wonder of the Okavango Delta truly becomes clear.

A mokoro ride is a staple of a visit to Botswana’s tourism crown jewel — the place where the mighty Okavango River flows in from the Angolan highlands, splintering off across 15,000 square kilometers of African plains towards the Kalahari Desert. 

Being punted along by a wiry villager from a neighboring village, who stands sentinel at the back of the canoe with a large pole, reminiscent of a Venetian gondolier, is a favored experience for international tourists, and the waterways are often full with foreign faces taking in the country’s famed wildlife. But not this year, of course.




A mokoro ride is a staple of a visit to Botswana’s tourism crown jewel — the place where the mighty Okavango River flows in from the Angolan highlands, splintering off across 15,000 square kilometers of African plains towards the Kalahari Desert. (Shitterstock)

The serenity of floating through one of the Delta’s famed papyrus-lined channels is the hard-earned pay off for the assault course you have to conquer to arrive here.  The two-hour speedboat ride to your mokoro involves papyrus reeds, branches and large insects whipping your face while a strangled boat engine threatens to cut out as your guide deftly navigates the overgrown channels. 

There are no tourists around this year, our guide explained, and therefore less boats puttering through the channels to keep the fast-growing papyrus that dominates the Okavango back. Some channels are at risk of being swallowed forever. 




It was at Mopiri Camp that we took to the water on a mokoro ride. (Shutterstock)

Botswana — like so many other tourism-reliant countries — is suffering from the COVID-19 pandemic’s impact on international travel. It closed its borders on March 24, 2020, and reopened eight months later, in a bid to lure back travellers. It hasn’t yet been successful. During our trip to three camps in the Delta in January, we were only the second international guests to have arrived since the reopening. The vast majority of lodges across Botswana remain closed.

But there is a flip side to this. Botswana — which has long marketed itself as a luxury tourism destination (Prince Harry got engaged to Meghan Markle here) — offering opulent all-inclusive lodges that routinely run up to $4,000 per night, has had to bring down its nightly rates to incentivize locals to travel. The country has traditionaly favored a sustainable travel model similar to Rwanda and Bhutan — keeping prices high to ensure no mass tourism. Until now, most lodges in Botswana did not have “international” and “local” prices. But introducing the dual rates, sometimes a quarter of the international price, has worked to some extent. During December and the first week of January, Roots and Journeys, which operates water-based lodge Mopiri and land-based lodge Nokanyana, reported full houses. 




We spot lions crossing a tar-sealed road, gazelle aplenty and — the highlight — a pack of wild dogs reclining on a roadside. (Shutterstock)

The company adamantly believes there is a mid-range market just waiting to be catered for in Botswana. Their $500 all-inclusive offering is a fraction of the cost of other camps in the area, and though it’s a more rustic experience, you do get to see the same wildlife. 

It was at Mopiri Camp that we took to the water on a mokoro ride.

While it can seem like a gimmick, the half-day excursion in a mokoro also demonstrates just how entwined many of the lodges are with their local communities. Food is purchased from the tiny nearby village of Etsha 6. Our mokoro guide, Alco, is from the neighboring village of Tsau.




Botswana has long marketed itself as a luxury tourism destination. (Shutterstock)

“Corona was an eye-opener,” our camp guide Sediq says. “The locals poured in because it was cheap. We survived because of them.”

The 5-star experiences are finding it just as hard. Nearby is one of Botswana’s most famous lodges: Belmond Savute Elephant Lodge. Located right in the middle of Chobe National Park, on the edge of a watering hole frequented by giant elephants, we are its only visitors. The camp has stayed open regardless — a commitment to keeping its staff in jobs. 

The staff member showing us to our rooms laughs as I suggest she must be annoyed at our interruption of a rare time of quiet.




Botswana — like so many other tourism-reliant countries — is suffering from the COVID-19 pandemic’s impact on international travel. (Shutterstock)

“No way,” she says. “We are so bored. We miss our guests. We get excited when people come.”

The elephants seem to agree. They’re out in force over the next few days, perhaps reveling in the lack of tourists. We spot lions crossing a tar-sealed road, gazelle aplenty and — the highlight — a pack of wild dogs reclining on a roadside. 

Our guide tells us we’re “very lucky”. But perhaps it’s just the animals reclaiming what’s rightfully theirs.


Quirky abaya brands reveal the changing face of Saudi fashion

Updated 21 April 2025
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Quirky abaya brands reveal the changing face of Saudi fashion

  • Designers repurpose traditional looks to highlight individuality
  • Saudi girls, women express themselves, while retaining modesty, tradition

RIYADH: Saudi Arabia’s streets are increasingly seeing women dressed in vibrant and daring colors, patterns and fabrics as abaya designers make more creative choices.

Once considered a garment to hide behind, abayas have become a form of artistic beauty that Saudi girls and women use to express themselves, while retaining modesty and tradition.

Today there is an influx of brands specializing in quirkier designs whose aim is to make women feel both comfortable and unique in their clothing choices.

Reem Al-Bayyat, founder of Mad Since 1982 (Instagram: madsince1982), told Arab News that “every piece tells a story; no two look the same.”

Mad Since 1982 weaves together different pieces of fabric printed with Al-Bayyat’s illustrations. As a collage artist, she never combines the same fabrics in the same way twice.

“It is a story, but also a risk and an adventure, whether things will work out or not … all my friends ask me how I dare to put the fabrics together in this way,” she said.

With a passion for ready-to-wear, Al-Bayyat’s goal is to make wearable, everyday pieces more beautiful and elegant.

“I want it to be close to the hearts of the people wearing it, I want them to feel special.

“That is how I was inspired to created Hadaweh.”

Hadaweh, Mad Since 1982’s recent modest wear creation, is an original clothing concept that can be worn in multiple ways for different occasions.

Al-Bayyat has been working for years with handmade block printing companies in India that use natural colors and fabrics, and occasionally imports fabrics with patterns she creates herself.

“My next step is having my own printing lab in my atelier,” she said.

Al-Bayyat, a former professional photographer who focused on fashion, draws inspiration from both local and international cultures.

“I have a lot of freedom when I’m working without any fear,” she said.

Another Saudi abaya brand exhibiting similar principles of individuality is Lamya’s Abayas (Instagram: lamya.abayas), founded by Lamya Al-Sarra.

Al-Sarra’s abayas are colorful and full of life, designed to reflect the personality and confidence of the women wearing them.

“I would describe Lamya’s Abayas as timeless, elegant, and effortlessly stylish. Each piece is designed to make a statement, while still feeling versatile and wearable,” she said.

“I love playing with bold colors, interesting cuts, and unexpected details that set each design apart.”

As a child, Al-Sarra spent her time sketching dresses and different looks in a notebook, and although that dream did not follow her through university, she found herself returning to her roots when the idea of starting her own abaya brand came to fruition.

Unimpressed with the designs available in stores, Al-Sarra decided to create her own.

“I kept designing pieces that felt true to me, and soon enough, people started stopping me to ask where my abayas were from. I’d tell them, ‘It’s mine. I designed it.’”

The hobby that she practiced for friends and family quickly became a full-fledged business.

Al-Sarra favors self-expression when choosing colors and designs, especially through vibrant summer tones.

The garments are meant to spark joy and represent individuality, helping people feel confident in their clothing.

“I believe your surroundings shouldn’t limit how you express yourself. Whether you’re wearing something bold, trendy, or completely unique, it should always reflect you,” she said.

Al-Sarra uses a variety of different fabrics for different looks and occasions — linen, for example, for light and breathable wear in summer, richer textures like velvet or tweed in winter, and taffeta and katan for more formal or structured looks.

Celebrating both family and sustainability, Moja Majka (Instagram: mojamajka) is a slow fashion abaya brand founded by a mother and daughter that is built on values of authenticity, as well as cultural and natural connection.

Sarah Basaad and her mother Sureyya Barli launched Moja Majka in 2012 to answer their need for more colorful garments that use organic and airy fabrics.

“It is an extension of our characters,” Basaad said.

Going for timeless rather than trendy, Moja Majka takes inspiration from both Turkish and Saudi cultures, since Barli is of Turkish descent.

The brand’s textiles are completely organic linens, cottons, and silks, some woven in Turkiye.

“We support local artisans and artisanal work,” Basaad said.

The brand is focused on bringing back long-forgotten artisanal work. “We collect antique handcrafted pieces and fabrics that are no longer able to be reproduced in our time, she said.

“Our kaftans are not a victim of trends, but a classic to pass onto your loved ones.”


Thousands rock at music shows in Jeddah after F1

Updated 21 April 2025
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Thousands rock at music shows in Jeddah after F1

  • Jennifer Lopez, Usher lit up the stage on Saturday and Sunday
  • This is cultural tourism via entertainment, says MDLBEAST CEO

JEDDAH: The past two days were filled with high-speed thrills and electrifying musical performances as the Formula One Saudi Arabian Grand Prix 2025 took over the city.

The after-race concerts, held at the Jeddah Corniche Circuit, were headlined by global music icons Jennifer Lopez and Usher, who lit up the stage on Saturday and Sunday night.

The party began right after a thrilling qualifying race, when Lopez stepped on stage. Wearing a dazzling black skintight catsuit, the 55-year-old icon made a bold and unforgettable entrance for an adoring crowd.

From the opening beats of “Get Right” to the final fireworks of “On the Floor,” Lopez delivered a show packed with powerhouse vocals, explosive choreography, and pure star energy.

The Bronx-born singer, who has sold over 80 million records and earned a star on the Hollywood Walk of Fame, treated fans to a string of hits including “Jenny from the Block,” “Ain’t It Funny,” “I’m Real,” and “Love Don’t Cost a Thing.”

“This is an incredible place with an incredible backdrop for F1,” Lopez told the crowd, glowing with excitement. “It feels good to be back out here. I love the energy here. I am feeling myself a little bit here.”

In an emotional moment, the singer told the crowd: “Love is feeling safe, love is secured, that’s what love is.”

JLo graced the stage in a series of stunning outfits, changing into a red suit, followed by a golden one, and finishing the show in pink.

The audience responded with roaring applause, with many in tears.

“JLo brought the energy, the heart, and the glam,” said Reem Al-Sharif, a 29-year-old from Jeddah. “When she talked about love, I really felt that. She’s not just a performer, she’s a storyteller.”

Ramadan Al-Haratani, CEO of MDLBEAST, said: “This is what cultural tourism through entertainment looks like. The music doesn’t just support the race weekend, it transforms it.”

The following night, Usher, the king of smooth R&B, delivered a thrilling performance that brought the Grand Prix to a stylish and electrifying close.

Dressed in an edgy all-black ensemble, Usher commanded the stage with his signature swagger.

The Grammy-winning artist took fans on a journey through two decades of hits, from the crowd-hyping “Yeah!” to slow jams including “Nice & Slow,” “U Got It Bad,” and “My Boo.”

His charisma, vocals, and iconic dance moves had fans on their feet all night.

“This was my first time seeing Usher live, and it was worth every second,” said Talal Saleh, another concertgoer. “His connection with the crowd, the performance, everything was perfect. He even brought some nostalgic 2000s magic to Jeddah.”

Lina Al-Mansour, who attended both concerts, said: “The entire experience felt like a music festival and a Formula 1 race rolled into one. It was world-class entertainment right here in Jeddah.

“I never imagined seeing JLo and Usher in my hometown.”

The concerts also featured supporting acts including Major Lazer and Peggy Gou, who kept the crowd hyped between the headliners.


Saudi Film Festival panel explores parallels between Japanese, Saudi cinema

Updated 21 April 2025
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Saudi Film Festival panel explores parallels between Japanese, Saudi cinema

  • US-based Japanese director Ken Ochiai and Oscar-nominated Japanese animator Koji Yamamura join discussion
  • Saudi film ‘Hobal’ wins praise for striking cinematography, captivating narrative

DHAHRAN: From Tokyo to Dhahran, audience members at the 11th Saudi Film Festival were treated to a rich cross-cultural exchange during a panel this week that explored the cinematic parallels and connections between Japan and Saudi Arabia.

Moderated by Zohra Ait El-Jamar, head of Hayy Jameel Cinema, the panel featured US-based Japanese director and photographer Ken Ochiai, Oscar-nominated Japanese animator Koji Yamamura, and Ithra’s Japanese-fluent Saudi film expert Majed Z. Samman.

Yamamura, who has had a career spanning 45 years and teaches at Tokyo University of the Arts, said: “What I make is more artistic films, not commercial ones.”

The globally acclaimed animator offered a masterclass earlier in the festival.

Ochiai, who viewed the Saudi film “Hobal” at the festival, noted striking similarities between Japanese and Saudi cultural expressions in cinema.

He praised “Hobal,” pointing to the strong emphasis on cinematography, concise dialogue, and captivating narrative.

“Less is good, if you can convey feelings through facial expressions,” he said.

The panel encouraged the audience to watch more foreign films “to broaden your perspective.”

Samman said that Saudi audiences have favored three main film categories for decades: “Hollywood, Bollywood, and anime.”

He said that his love of cinema began while studying in Tokyo.

“Saudis grew up on anime that was mostly dubbed into Arabic,” he said, adding that many popular films, such as “Inception,” were based on Japanese originals.

Japanese films often require a bit of homework beforehand, Samman said.

“If you’re not into it (Japanese storytelling style), or if you’re not going to research it, you might think it’s stupid or cheesy — or, what’s happening here? I think we need to bridge that gap between the culture and the visual language,” he said.

Ochiai explained the differing approaches to film editing, saying that in Hollywood, several takes are shot, and editing happens later. In contrast, Japanese filmmakers often prefer to edit in real time, based on a meticulously planned storyboard, in order to minimize extra work.

While Japanese films can sometimes feel lacking in context, every country has its own visual language, he said.

Japanese cinema’s minimalist sensibility resonates deeply within Japan, though it can sometimes feel mysterious or confusing to outside audiences. This is because Japan’s film industry has traditionally prioritized domestic viewers, without filling in background details that international audiences might need.

Ochiai said that audiences today who focus on trending aesthetics, especially on TikTok, may be looking in the wrong direction.

“What we really need to focus on is the message of the film. How you learn is not on YouTube, but how you learn is from the past, like the movies from the past, because everything is coming from the top.

“Art is a copy of something. So, if you copy the copy of the copy of the copy, it just gets watered down — the quality — so you should learn the history of the cinema so that you can also bring something new to the table,” he said.


Kneecap delivers pro-Palestine message at Coachella

Updated 21 April 2025
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Kneecap delivers pro-Palestine message at Coachella

DUBAI: Irish band Kneecap took to the stage at the second week of the Coachella music festival in California to shine a light on Israel’s war against Palestine.

“Israel is committing genocide against the Palestinian people,” read a projection during the hip-hop trio’s performance. “It is being enabled by the US government who arm and fund Israel despite their war crimes.”

"The Palestinians have nowhere to go. It's their home, and they're bombing it from the sky. If you're not calling it a genocide, what are you calling it?" said Kneecap rapper Moglai Bap, who was wearing a keffiyeh.

The musician went on to lead the audience in a "free, free Palestine" chant.


Saudi-supported film to screen at Cannes parallel section ACID

Updated 21 April 2025
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Saudi-supported film to screen at Cannes parallel section ACID

DUBAI: ACID, a Cannes Film Festival parallel section, has announced the lineup for its 2025 edition, which includes the Red Sea Film Foundation-supported film “Life After Siham” from Egyptian filmmaker Namir Abdel Messeeh.

The autobiographical hybrid-documentary – supported by Saudi Arabia’s Red Sea Fund – follows the director as he grieves his mother’s death while dealing with a creative impasse as he leads a writing workshop in Egypt.

The film follows two parallel tracks, mixing family footage the director shot before and after his mother’s passing against the fictional backdrop of a creative retreat set at the late Egyptian director Youssef Chahine’s one-time residence.

“The film will also be a portrait of contemporary Egypt,” Messeeh told Variety in an earlier interview. “Depicting a younger generation as they develop their own creative projects in post-revolution Egypt. Through them we’ll explore different facets of the modern country.”