RAWALPINDI: For Kishwar Naheed, one of Pakistan’s greatest living Urdu poets and writers, visiting the hundreds of book stalls stretched along Rawalpindi’s main Saddar market was once a usual Sunday morning activity.
But as the stalls have dwindled and book hawkers have disappeared, Naheed and others like her have been left only with the memories and a deep sense of loss over a disappearing literary culture and what was once the center of Rawalpindi’s intellectual life.
“Every Sunday morning, Zahid Dar [Urdu poet], Intizar [Hussain] Saab [novelist], myself, all my writer friends, we used to go there [Rawalpindi book bazaar] and try to pick up books,” Naheed told Arab News in an interview this week. “It was a craze for books.”
Rawalpindi’s open-air book stalls came up in the eighties and thrived until at least 2010 when the downfall slowly began, said Fareed-ul-Haq, a 69-year-old book stall owner.
“I’ve been selling books in this market for 25 years and this roadside book bazaar has been around for 50 years,” he told Arab News, saying people used to travel from other cities to visit the stalls, browsing for hours and often arriving with handwritten notes of titles they wanted.
“I have seen the high point of this market when the condition was such that it was so crowded it was difficult to walk here. Now people bring their books and it turns out they are their grandparents’ books and the grandson wants to sell them because he doesn’t value books.”
The roadside stalls offer a wide variety of new and old books: antique volumes, school books, historical works, fiction in different languages and all kinds of magazines.
But the rise of digital media and online bookstores has impacted the viability of book bazaars, sellers and customers said, with smartphones and social media causing a shift worldwide in how people consume information and read.
“We live in an era of social media, online and virtual books and many people don’t prefer reading physical books anymore,” Noaman Sami, a media sciences student at Rawalpindi’s Riphah International University, told Arab News.
Economic factors are also behind the decline in book bazaars, according to Muhammad Hameed Shahid, a Pakistani short story writer, novelist and literary critic.
Rising rents, inflation and the increasing cost of living had made it difficult for many booksellers to sustain their businesses, while customers had less money to spend on luxuries like books. Urban development projects have also displacd book bazaars as the literary corners are repurposed for commercial or residential development.
“Ordinary people often can’t afford expensive books, but at these roadside book stalls, you would find treasures,” Shahid said. “There’s a wide variety of books available, and these vendors sitting on our footpaths deserve support so that through them the flame of knowledge stays alive and books continue to reach our children.”
The bazaar, the writer said, had been a major player in his own literary journey:
“These vendors who used to be sitting on the footpaths with books spread around them, those books, covering all sorts of topics, they played a vital role in my career, they inspired me to become a writer.”
Future generations in Rawalpindi won’t get to experience this, Haq, the bookseller, lamented.
“I’ve seen this market crowded with people,” he said as he sat alone at his stall on a Sunday morning this month, waiting for customers. “But now, it’s nearly empty.”
The vanishing roadside book stalls of Rawalpindi
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The vanishing roadside book stalls of Rawalpindi
- Roadside book bazaar along Rawalpindi’s main Saddar market came up in the eighties, thrived until at least 2010
- Rise of e-books has changed reading habits, economic factors and urban development have also impacted bazaars
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
- 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
- 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
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
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.”
