‘Monsoon brides’: Extreme weather fuels Pakistan child marriages

In this photograph taken on August 3, 2024 newly married underage monsoon bride Amina (2L), with their husband Mohammad Usman (L) arrives at the Khan Muhammad Mallah village in Main Nara Valley, Dadu district, Sindh province. (AFP)
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Updated 16 August 2024
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‘Monsoon brides’: Extreme weather fuels Pakistan child marriages

  • The high rate of marriages for underage girls had been inching lower in Pakistan in recent years
  • But after unprecedented floods in 2022, rights workers warn such weddings are now on the rise

DADU: As monsoon rains were about to break over Pakistan, 14-year-old Shamila and her 13-year-old sister Amina were married off in exchange for money, a decision their parents made to help the family survive the threat of floods.
“I was happy to hear I was getting married... I thought my life would become easier,” Shamila told AFP after her wedding to a man twice her age in hope of a more prosperous life.
“But I have nothing more. And with the rain, I fear I will have even less, if that is possible.”
Pakistan’s high rate of marriages for underage girls had been inching lower in recent years, but after unprecedented floods in 2022, rights workers warn such weddings are now on the rise due to climate-driven economic insecurity.
The summer monsoon between July and September is vital for the livelihoods of millions of farmers and food security, but scientists say climate change is making them heavier and longer, raising the risk of landslides, floods and long-term crop damage.
Many villages in the agricultural belt of Sindh have not recovered from the 2022 floods, which plunged a third of the country underwater, displaced millions and ruined harvests.




This aerial photograph taken on August 3, 2024, shows a settlement along the banks of a canal at Khan Muhammad Mallah village in Main Nara Valley, Dadu district of Sindh province. (AFP)

“This has led to a new trend of ‘monsoon brides’,” said Mashooque Birhmani, the founder of the NGO Sujag Sansar, which works with religious scholars to combat child marriage.
“Families will find any means of survival. The first and most obvious way is to give their daughters away in marriage in exchange for money.”
Birhmani said since the 2022 floods, child marriage has spiked in villages in Dadu district, one of the worst-hit areas that for months resembled a lake.
In Khan Mohammad Mallah village, where Shamila and Amina were married in a joint ceremony in June, 45 underage girls have become wives since the last monsoon — 15 of them in May and June this year.
“Before the 2022 rains, there was no such need to get girls married so young in our area,” said village elder Mai Hajjani, 65.
“They would work on the land, make rope for wooden beds, the men would be busy with fishing and agriculture. There was always work to be done.”
Parents told AFP that they hurried the marriage of their daughters to save them from poverty, usually in exchange for money.




In this photograph taken on August 3, 2024 Sabahi Ali (L), a monsoon bride who was married underage, reacts alongside her husband Dilsher Ali at Khan Muhammad Mallah village, Dadu district in Sindh province. (AFP)

Shamila’s mother-in-law, Bibi Sachal, said they gave 200,000 Pakistan Rupees ($720) to the young bride’s parents — a major sum in a region where most families survive on around one dollar a day.
Najma Ali was initially swept up in the excitement of becoming a wife when she married at 14 in 2022 and began living with her in-laws, as is tradition in Pakistan.
“My husband gave my parents 250,000 rupees for our wedding. But it was on loan (from a third party) that he has no way of paying back now,” she said.
“I thought I would get lipstick, makeup, clothes and crockery,” she told AFP, cradling her six-month-old baby.
“Now I am back home with a husband and a baby because we have nothing to eat.”
Their village, which lies on the banks of a canal in the Main Nara Valley, is barren and there are no fish left in the polluted water — its stench overwhelms the area.
“We had lush rice fields where girls used to work,” said Hakim Zaadi, 58, the village matron and Najma’s mother.
“They would grow many vegetables, which are all dead now because the water in the ground is poisonous. This has happened especially after 2022,” she added.
“The girls were not a burden on us before then. At the age girls used to get married, they now have five children, and they come back to live with their parents because their husbands are jobless.”




In this photograph taken on August 4, 2024 social workers at NGO Sujag Sansar take part in a theater practice ahead of their performance, intending to create awareness on dangers of child-marriages at the NGO office in Johi, Dadu district of Sindh province. (AFP)

Child marriages are common in parts of Pakistan, which has the sixth-highest number of girls married before the age of 18 in the world, according to government data published in December.
The legal age for marriage varies from 16 to 18 in different regions, but the law is rarely enforced.
UNICEF has reported “significant strides” in reducing child marriage, but evidence shows that extreme weather events put girls at risk.
“We would expect to see an 18 percent increase in the prevalence of child marriage, equivalent to erasing five years of progress,” it said in a report after the 2022 floods.
Dildar Ali Sheikh, 31, had planned to marry off his eldest daughter Mehtab while living in an aid camp after being displaced by the floods.
“When I was there, I thought to myself ‘we should get our daughter married so at least she can eat and have basic facilities’,” the daily wage laborer told AFP.
Mehtab was just 10 years old.




In this photograph taken on August 3, 2024 Shamila (L) and Salma Zameer, monsoon brides who were married underage look on at Khan Muhammad Mallah village, Dadu district in Sindh province. (AFP)

“The night I decided to get her married, I couldn’t sleep,” said her mother, Sumbal Ali Sheikh, who was 18 when she married.
An intervention from the NGO Sujag Sansar led to the wedding being postponed, and Mehtab was enrolled in a sewing workshop, allowing her to earn a small income while continuing her education.
But when the monsoon rains fall, she is overcome by dread that her promised wedding will also arrive.
“I have told my father I want to study,” she said. “I see married girls around me who have very challenging lives and I don’t want this for myself.”


Lavish and Johara Global collaborate to celebrate Saudi Culture

Natural pigment, gold and gouache on paper by Sarah Mohanna Al Abdali, Sukoon, 2018. (Instagram: johara_global)
Updated 23 November 2024
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Lavish and Johara Global collaborate to celebrate Saudi Culture

  • Lavish founders Nada Altobaishi and Hala Alsharekh said in a statement: “Lavish Concept Store is more than just a destination for luxury and style; it is a platform where innovation, culture, and creativity thrive

LONDON: Lavish Concept Store and Johara Global on Thursday joined forces to host an event at the Lavish pop-up in The Music Room, Mayfair, London, celebrating the timeless beauty and rich traditions of Saudi culture.

Lavish Concept Store aims to foster creativity and innovation, while Johara Global is a platform to support female leaders and enable them to fulfil their potential.

In line with Saudi Vision 2030, the event offered an immersive cultural experience, spotlighting the heritage and artistry of Saudi Arabia through a blend of fashion, art and cuisine.

A fashion show featuring traditional Saudi costumes showed off the intricate craftsmanship and rich heritage of the region.

Lavish founders Nada Altobaishi and Hala Alsharekh said in a statement: “Lavish Concept Store is more than just a destination for luxury and style; it is a platform where innovation, culture, and creativity thrive.

“We are committed to curating exclusive, high-quality products while showcasing the work of emerging artists and artisans.

“Our vision is to redefine the retail experience by blending timeless elegance with cutting-edge trends, all while championing artistic expression and cultural diversity. At Lavish, we strive to inspire confidence and elevate everyday living through the fusion of luxury, culture, and innovation.”

Katie Partridge, founder and chairwoman of Johara Global, and Intisar Alyamani, CEO of Johara Global said in a statement: “Johara Global was set up with a mission to bridge the east-west gap and foster the leadership of women through our four main pillars. Collaborations like these create a lasting and powerful impact on the community. We are delighted to join forces to achieve this.”

 


Pakistan’s first hand-drawn animated film ‘The Glassworker’ makes Oscars eligibility list

Updated 22 November 2024
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Pakistan’s first hand-drawn animated film ‘The Glassworker’ makes Oscars eligibility list

  • The film was released in July, with its director calling it the result of ‘passion and perseverance’
  • Selection committee in the country says it has broken ‘new ground for animation’ in Pakistan

ISLAMABAD: Pakistan’s first hand-drawn animated film, “The Glassworker,” has been named on the list of eligible films for the 97th Academy Awards in both the Animated Feature Film and International Feature Film categories, the Academy of Motion Picture Arts and Sciences announced this week.
Directed by young Pakistani animator Usman Riaz, the film was released in July and features 1,477 cuts and 2,500 individual drawings. The coming-of-age tale follows Vincent, a young apprentice at his father’s glass workshop, and Alliz, a talented violinist and the daughter of a military colonel.
Against the backdrop of a looming war, their relationships with their parents and each other are tested.
“Thirty-one features are eligible for consideration in the Animated Feature Film category for the 97th Academy Awards,” the Academy said on its website, with “The Glassworker” among them.
“Films submitted in the Animated Feature Film category may also qualify for Academy Awards in other categories, including Best Picture,” it added. “Animated features that have been submitted in the International Feature Film category as their country’s official selection are also eligible in the category.”
Five films from the list will be shortlisted for nominations in the Animated Feature Film category, with the ultimate winner announced at the Oscars ceremony scheduled for March 3, 2025.
A team of 250 national and international cast and crew members worked on the film, which was produced by Riaz’s Karachi-based Mano Animation Studios.
The film became Pakistan’s first-ever animated feature to be nominated for Oscars consideration in September.
“Usman and Mano’s work has demonstrated exceptional storytelling and artistry while breaking new ground for animation in Pakistan,” the Academy Selection Committee of Pakistan said earlier while lauding the project. “This achievement will be remembered in our cinematic history.”
Riaz described his effort as a result of “a decade of passion and perseverance” when the film was nominated for Oscars from Pakistan.
“I am deeply humbled by the selection and hope this story resonates with audiences everywhere, showcasing the talent and creativity Pakistan has to offer,” he added. 


Celebrity-loved jeweler Azza Fahmy has ‘a strong connection’ with Saudi Arabia

Updated 22 November 2024
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Celebrity-loved jeweler Azza Fahmy has ‘a strong connection’ with Saudi Arabia

  • The CEO and head of design at the Egyptian jewelry house their mother founded discuss their new flagship store in Riyadh 
  • ‘Every time she goes, she has a strong connection there,’ the head of design said of Azza Fahmy’s trips to Saudi Arabia

DUBAI: Egyptian entrepreneur and jewelry designer Azza Fahmy is celebrated for crafting pieces that weave cultural stories into wearable art, resonating with those who appreciate depth and meaning in every design. 

Fahmy’s signature gold-and-silver pieces have long been embraced by Egypt’s top entertainers, including the late actress and singer Soad Hosny and celebrated actress Yousra.  

Her jewelry has also garnered an impressive international following, including A-list stars like actors Julia Roberts, Shailene Woodley, Naomi Watts, and Vanessa Hudgens, and singers Joss Stone and Rihanna.  

Inside Azza Fahmy's recently opened flagship store in Riyadh. (Supplied)

The brand has also forged a particularly strong connection with Saudi customers, who value the blend of tradition and modernity it offers. It recently expanded its reach with the opening of a flagship store in Riyadh, catering to a growing Saudi clientele.  

Fahmy’s daughters — CEO Fatma Ghaly and head of design Amina Ghaly — say the new outlet is the result of years spent cultivating relationships with Saudi clients. 

“The opening of our flagship store in Riyadh marks a significant milestone for Azza Fahmy,” Fatma tells Arab News. “Throughout the years, we’ve had the privilege of cultivating meaningful relationships with our Saudi clientele, connecting through online platforms, exhibitions, and pop-ups, all while experiencing a growing demand for our jewelry.”  

Inside Azza Fahmy's recently opened flagship store in Riyadh. (Supplied)

For Amina, the store is a continuation of her mother’s decades-long connection to Saudi Arabia, where she has often been inspired by the culture, architecture and landscapes.  

“Every time she goes, she has a strong connection there,” Amina says. “There is the architectural aspect that we have drawn inspiration from, (but also the culture): for our collection ‘Ahla Ma Ghanaho Al-Arab,’ we were inspired by (Saudi singer and composer) Abdul Majeed Abdullah, so it’s really varied over the years. 

“We draw inspiration not from one thing or the other. It is a question of how the inspiration serves the collection, and I feel like, with Saudi Arabia, the more we keep going there, the more we will continue to be inspired,” she adds.  

Crescent Filigree Earrings. (Supplied)

Fatma explains that this made opening a permanent store in Saudi Arabia feel like the right move, especially as the Kingdom’s luxury market shows a growing interest in heritage-inspired brands. 

“Our new store is a testament to our commitment to the Saudi market, offering a space that showcases our craftsmanship and invites visitors to explore the beauty and stories behind our pieces,” she says.  

According to Fatma, Saudi Arabia’s luxury market has transformed in recent years. Clients increasingly seek brands that emphasize authenticity, cultural stories and craftsmanship.  

“The Saudi consumer has long been sophisticated and well-traveled, but in recent years Saudi Arabia’s luxury market has experienced remarkable growth and evolution, especially for heritage-driven brands like Azza Fahmy. There has been a significant shift towards valuing craftsmanship, cultural narratives, and authenticity in luxury goods,” she explains.  

(Supplied)

For many Saudi clients, jewelry that reflects their identity and holds personal meaning is highly sought after, making Azza Fahmy’s storytelling-focused designs especially appealing. 

Fatma and Amina are both enthusiastic about connecting with Saudi’s younger generation, who are attracted to brands that combine tradition with innovation.  

“Our designs resonate with this dynamic audience by blending contemporary aesthetics with traditional motifs,” Fatma says. “We embrace innovation in our processes and materials, ensuring that our jewelry appeals to a modern sensibility while remaining rooted in cultural heritage.  

Inside Azza Fahmy's workshop. (Getty)

“This approach not only attracts younger consumers but also fosters a deeper connection to their identity, allowing them to wear pieces that are both stylish and meaningful,” she continues.  

Amina says that today’s luxury market is increasingly global, shaped more by shared interests than regional preferences. “As brands, we should not segment by region but rather by character,” she says. “The internet and social media has made the world a very small place. So, you find women in Saudi who, for instance, are very interested in travel and seek brands they can connect with on a personal level. Someone in London, someone in Japan, someone in Brazil could have the same interest. These are character traits, more than regional traits.”  

However, Amina notes that there is a unique regional connection when it comes to Arabic calligraphy and poetry. 

Amina Ghali is the head designer. (Supplied)

“I feel that women from the Arab region are very drawn towards the Arabic language, because rather than me translating it for them and trying to give them the gist of what it means, they can read and recognize it and connect with it themselves,” she says.  

Beyond the Middle East, Azza Fahmy’s collections with Arabic calligraphy have found success in places including the UK, where clients often appreciate the aesthetic and personal significance of the script.  

“When we were approaching the British market, we were under the false impression — from whatever market survey that we did at the time — of ‘They do not understand it, and they will not understand it, so they will not be able to connect.’ We were very happily surprised to learn that our number one-performing collection, in our Burlington Arcade boutique in London, is the calligraphy collection,” Amina says. “It’s because they are carrying it as their own little secret. The client comes and picks up something like, for instance, the eternity ring inspired by Umm Kalthoum, and she takes it as ‘I’m the only one that understands what it says.’” 

The Riyadh store stocks many of the brand’s high jewelry pieces. Among Amina’s personal favorites, she says, is the “Scripts of Love” bangle, adorned with emeralds and calligraphy. 

“The combination of stones, poetry, and calligraphy creates a piece that captures attention without overshadowing any element,” she says.  

She also highlighted the delicate “Crescent Filigree” earrings with tanzanite — a design that showcases the brand’s expertise in filigree craftsmanship. 

Azza Fahmy’s commitment to the empowerment of women is also in line with Saudi Arabia’s Vision 2030, which encourages increased female participation in the workforce and leadership roles.  

Fatma explains that the brand’s jewelry aims to reflect individuality and heritage — resonating with modern Saudi women who appreciate both cultural pride and self-expression. 

“As a company led by women — with women in key roles across all levels of management — empowering women is simply part of our DNA,” she says. “It is not something we ‘strive for.’ It comes naturally to us.”  


From struggles to innovation: How Saudi calligrapher Abdulaziz Al-Rashedi revolutionized Arabic script

Updated 22 November 2024
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From struggles to innovation: How Saudi calligrapher Abdulaziz Al-Rashedi revolutionized Arabic script

  • ‘I feel there is a holy light within the letters,’ says Abdulaziz Al-Rashedi

DUBAI: Saudi calligrapher and arts instructor Abdulaziz Al-Rashedi’s first love was the pen. His fascination with writing began in elementary school in the Eighties in his hometown of Madinah.  

Al-Rashedi talks about holding a pen in the same way a musician might discuss holding their instrument. In the eyes of the calligrapher, writing is an artistic act, like a dance, that has its own kind of magic.  

“What I loved about the pen was the way the ink was flowing out of it,” he tells Arab News. “The pen led me to my love of writing Arabic calligraphy.”  

Al-Rashedi talks about holding a pen in the same way a musician might discuss holding their instrument. (Supplied)

But there were challenges imposed by the conservative social environment of the Kingdom in the Eighties and Nineties.  

“People didn’t regard art as something important. During that time, people thought that art couldn’t generate money. For them, it was a waste of time,” he says. “In such a depressing environment, I was suffering from people’s lack of interest. They were saying that the writing would distract me from my studies. But actually, it encouraged me to study.”  

Not everyone disregarded his interest in pursuing calligraphy, however. Al-Rashedi’s late father was always a supporter.  

3punt 2. (Supplied)

“He was a believer in writing, and conserving it,” Al-Rashedi says. “He thought I was doing something important with my life, even though others thought it wasn’t important. They likened it to making scribbles. I was literally making art on my own. None of my friends shared this interest with me and there were no calligraphy institutes to encourage this talent. The situation was very difficult.” 

But in 1993, Al-Rashedi learned there was, in fact, a master Saudi calligrapher living in Madinah: Ahmad Dia. He kindly agreed to teach Al-Rashedi the basics of Arabic calligraphy. And, perhaps just as importantly, to do so in his home, which Al-Rashedi compares to a school and a museum, as well as a meeting place for calligraphers. 

“I was young, but he treated me like a man,” the artist recalls. “For us calligraphers, he was like a spiritual father figure, who planted a seed of determination in us. He always encouraged us and never told us off if our writing wasn’t on point.”  

3punt 4. (Supplied)

Al-Rashedi remained in contact with his tutor until Dia’s death in 2022 during the COVID pandemic. “When he died, it felt as if the light went off,” Al-Rashedi says. 

Al-Rashedi also trained himself by copying the work of another important figure: Hashem Al-Baghdadi, the influential Iraqi calligrapher and educator who published books on the rules of Arabic calligraphy. Al-Rashedi describes the pre-social media era as a “truly dark period” when there were no opportunities to host exhibitions or share his work with others.  

“People weren’t communicating with each other. It was a period that lacked (opportunity) and even good materials, such as pens and paper,” he recalls.  

But with the advent of social media, most notably Facebook, and the opening of a few art galleries, including Jeddah’s Athr Gallery in 2009, things improved drastically. Today, Al-Rashedi is able to share his work on Instagram and other platforms, displaying the skills he has honed over three decades of practice.  

His fascination with writing began in elementary school in the Eighties in his hometown of Madinah. (Supplied)

Arabic calligraphy is an internationally respected art form that has existed for thousands of years, exercised in Islamic texts and found on monuments around the world. So, what is its long-lasting secret?  

“I often ask myself why the curves of Arabic calligraphy have bewitched people for so long, and I believe it inevitably has something to do with its holiness,” he says. “Allah has been an inspiration for calligraphers and their innovation of writing. I feel there is a holy light within the letters of Arabic calligraphy.”  

But Al-Rashedi also believes that, for many years, calligraphy has been stuck in a rut, untouched by modern innovation or creativity.  

3punt 6. (Supplied)

“Many calligraphers have literally said that Arabic calligraphy has reached its end and no one could add anything new to it,” he says. “Such an idea is incorrect.”  

Indeed, Al-Rashedi has invented his own form of Arabic calligraphy, which he calls “3punt.” (He says the name refers to the size of the letters, which are written using three different pens.)  

“It depends on the idea of lessening the thickness of the letter. Usually, one pen is used in Arabic calligraphy. But I discovered that the original bulkiness of Arabic scripture and the usage of just one pen prevents Arabic calligraphy from having new forms of writing being added to its system.”  

Based on a strict set of rules, Al-Rashedi’s 3punt calligraphy contains 55 “subtypes of writing,” he says. It has its own lightness and elegance, with carefully choreographed flowing lines of slender Arabic script.   

Ultimately, Al-Rashedi believes that Arabic calligraphy is about connections.  

“If we look at Latin or Chinese scripture, on letters like ‘n,’ ‘e,’ or ‘r,’ they are based on separate components. But with Arabic calligraphy, you can connect six or seven letters in one go,” he says. “Without a doubt, Arabic writing — as an art form — is superior to other types of writing.” 


US contemporary artist Brendan Murphy discusses his first show in Riyadh

Updated 22 November 2024
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US contemporary artist Brendan Murphy discusses his first show in Riyadh

RIYADH: The American contemporary artist Brendan Murphy brought his solo exhibition “Complete Control” to Ahlam Gallery in Riyadh on Nov. 7. The Riyadh show is the conclusion of a global tour that Murphy began in June 2024 at Fineart Oslo. 

The show features a number of Murphy’s iconic “Spaceman” sculptures, with a particular focus on his limited-edition collectible series titled “Magication.”  

In an interview with Arab News, Murphy said the main goal of his show is to bring people “into the moment.” He also stressed that he felt a “creative cultural resonance” with the Kingdom, where he believes people have shown “an appetite for creative works.”  

The Riyadh show is the conclusion of a global tour that Murphy began in June 2024 at Fineart Oslo. (Supplied)

He said: “I have a lot of stuff I’m working on, but I’m focused on building a foundation in Riyadh right now. This show is not a one-shot deal, I want to be a part of this renaissance (that’s happening in Saudi Arabia) for the next five to 10 years, at least. I want to be a part of it — I want to lead it if I can.”  

Murphy’s body of work includes colorful abstract paintings and sculptures of his signature Spacemen, which explore themes of beauty, power, and the human experience. 

As a kid, watching astronauts and space shuttle launches played a major role in Murphy’s life and eventually became one of his main artistic inspirations.  

Brendan Murphy's 'Frozen With Desire.' (Supplied)

“My spacemen have little to do with space travel,” he explained. “They epitomize embracing the unknown — taking that step — more than somebody that literally is flying into darkness.” 

Murphy’s Spacemen come in various sizes and forms, including small collectibles and large-scale installations. This versatility allows them to fit into diverse settings, from private collections to public art displays. The sculptures can be found across the world, including a 13-foot Spaceman in Houston’s Minute Maid Park baseball stadium and a 22-foot Spaceman in Oslo. 

Murphy hasn’t always been an artist. He was once a professional basketball player in Europe, and then became a Wall Street trader. “I did not make a full pivot into accepting that I was a creative person until I was maybe 29,” he said. Today, he is one of most financially successful contemporary artists in the world. 

In 2021, Brendan created his “Boonji Project” — a collection of his artwork as non-fungible tokens — and launched it on the Ethereum blockchain (which uses the cryptocurrency Ether). It became the largest primary NFT sale in history, producing $15.5 million dollars.   

Brendan Murphy's 2023 work '9 Intentions.' (Supplied)

His work has proven popular with both serious collectors and celebrities, including the tennis players Novak Djokovic and Serena Williams, as well as US business mogul Warren Buffett.  

Inspired by artists including Jean-Michel Basquiat and Jackson Pollock — famed for their use of color — Murphy’s art aims to encourage the viewer to tune into their emotions and discover the unknown. 

“I love color as a means of communicating a feeling,” Murphy said. “When I make something and I get it right, my work creates energy and that’s pretty cool. Color is the easiest way of creating energy; different colors connect with different feelings.” 

Murphy said his practice, by choice, demands that he step out of his comfort zone. He utilizes non-traditional methods and rare materials including chrome and diamonds to create conceptual pieces. He has become famous for his extravagant works of art, including “Frozen with Desire,” a sculpture of an astronaut encrusted with 6,200 diamonds, priced at $25 million.  

“As an artist, you have to be uncomfortable all the time,” he said. “Find comfort in what you can control, then break it and go where you have no idea what you’re doing.”