The Francophone festival has helped strengthen ties between French-speaking nations across the globe, said Louis Blin, the French consul general at the conclusion of the two-week event at his residence in Jeddah on Thursday.
The Francophone week started on March 13 with the participation of 20 countries in various cultural activities, photo exhibitions, film nights, concerts, and literary evenings. It concluded with a traditional food festival.
The 20 countries were France, Egypt, Algeria, Belgium, Morocco, Tunisia, Syria, Lebanon, Canada, Switzerland, Congo (DRC), Burundi, Madagascar, Rwanda, Ivory Coast, Greece, Togo, Guinea, Niger, Senegal, Turkey and Cameroon.
The term Francophone refers to people whose cultural background is primarily associated with the French language, regardless of ethnic or geographical differences.
Blin said the links between the countries were not only based on language but also “common values.” He thanked Saudi Arabia for supporting the event, which attracted thousands of people.
He praised the efforts of Sebastien Lafragette, the cultural attaché at the French consulate, and the entire organizing team.
Salah Attia, the Algerian consul general and dean of the consular corps, congratulated the consulates for helping to make the festival a success.
It provided an opportunity for the Francophone community “to get together, share their mutual culture and strengthen relations.” Algeria was also able to display handicrafts, he added.
Lafragette said the event was successful because most of the consulates organized activities over the two-week period.
“It is very important to mention that there are around 50,000 Francophone people in Jeddah. It is a very dynamic group over here. It’s not about the language but the spirit of brotherhood that exists among all these countries. Everyone enjoyed the festival with music, plastic art, cinema, literature, book experiences, sports and food from all the participant countries,” he added.
The traditional food included the Lebanese national dish kibbeh, Algerian couscous, Swiss cheese, Egyptian rice with lentils, and sweets from Turkey and other countries.
On the first night of the festival, French artist Corinne Sauvage sang a tribute to singer Dalida in front of an audience of about 450 people.
Francophone festival ‘strengthens cultural ties’
Francophone festival ‘strengthens cultural ties’
Saudi artist adds local twist to French art movements
- Vibrant artworks are a ‘rebellion against dull landscapes of the past,’ says Mohammed Al-Aameri
RIYADH: In his latest exhibition, Saudi artist Mohammed Al-Aameri is presenting his own take on cubism and fauvism — with a Saudi twist.
“Red Line” at Kenz Gallery in the Al-Mousa Center, Riyadh, is on show until Sept. 20. The works on display draw particular inspiration from fauvism, an early 20th-century art movement known for its bold colors and expressive brushwork, favoring emotional expression through color over strict adherence to realism.
Al-Aameri told Arab News, “My exhibition focuses on expressing feelings and emotions as an alternative to realistic photography, while mixing my own style with techniques inspired by fauvism and cubism. Although fauvism was short-lived, it laid the groundwork for many modern-art movements.”
“Red Line” is the result of an artistic journey that spans decades. Al-Aameri’s paintings encapsulate stories, emotions, and cultural heritage.
Through my research, travel, and interaction with many (international) artists, I aim to revive the innovative spirit of these schools in my own style, presenting it in a new and distinctive way in Saudi Arabia.
Mohammed Al-Aameri, Saudi artist
“Through my research, travel, and interaction with many (international) artists, I aim to revive the innovative spirit of these schools in my own style, presenting it in a new and distinctive way in Saudi Arabia,” the 55-year-old artist said.
“Red Line” consists of 20 works, including paintings that feature figures in traditional Saudi attire rendered in a vibrant palette that contrasts sharply with the muted colors typically associated with historical representations of the region.
“I love colors, and aim to express a spectrum in my paintings,” he said. “It’s a form of rebellion against the past, where we were often limited to dull landscapes of brown and green.”
Al-Aameri’s work is also deeply inspired by his childhood memories. These recollections provide a backdrop to his artistic expression, allowing him to weave personal history into his works.
At 19, Al-Aameri became enamored with Picasso’s art after seeing it in a magazine. “His work touched me and encouraged me to explore cubism,” he said. “I had been drawing in a classical style, but Picasso’s art showed me the potential to break boundaries. Cubism requires a deep understanding of geometry, which fascinated me.”
This newfound passion led to opportunities for training with international artists in France and Florence, enriching his artistic perspective.
Al-Aameri’s goal is to challenge the status quo and inspire emerging artists to think beyond conventional methods. “I aim to elevate the concept of art in Saudi Arabia, as many artists are still confined to traditional approaches,” he said.
His own artistic journey began at a young age. “I discovered my love for drawing at eight, inspired by my mother … my first portrait was of King Khaled, which amazed everyone and ignited my passion for art,” he said.
At 16, Al-Aameri sold his first painting—a watercolor depicting a Bedouin woman spinning wool. “The piece was filled with warm colors representing the Saudi environment,” he recalls. This artwork caught the attention of a British collector and was sold for SR3,500 ($933).
“Red Line” marks a pivotal moment in Al-Aameri’s artistic journey, showcasing not only his skill but also his vision for the future of art in Saudi Arabia.
“The exhibition is a celebration of art’s power to transcend limitations and connect with deeper truths,” he said.
REVIEW: Colin Farrell is resplendent as Batman villain in ‘The Penguin,’ HBO’s new slow-burn crime epic
- The spin-off of Matt Reeves’ ‘Batman’ — a lush and fully realized mob drama — drops weekly on OSN from Sept. 20
DUBAI: Audiences will be forgiven for rolling their eyes at yet-another supervillain origin story. But thanks to Colin Farrell’s “The Penguin,” for the first time in a very long time, you won’t walk away from your TV feeling mildly dissatisfied or pining for the long-gone golden age of superhero storytelling.
HBO’s eight-episode limited series — written and created by Lauren LeFranc (“Agents of S.H.I.E.L.D.” and “Chuck”) — tells the story of the rise of Oswald “the Penguin” Cobb, or just “Oz,” from underworld criminal to mob kingpin; and does so in a richly realized manner that will earn comparisons to TV epics such as “The Sopranos.”
The show begins a week after the events of Matt Reeves’ “The Batman” (2022), where the citizens of Gotham are recovering from the deadly floods released by the Riddler, destroying entire neighborhoods and killing thousands. Oz (Farrell, who again disappears into the role thanks to game-changing prosthetics and acting instincts honed over decades) plans to exploit the chaos of the floods and the power vacuum left behind by the recent death of mob boss Carmine Falcone (Mark Strong).
Helping him in his endeavour is young Victor (Rhenzy Feliz), a wannabe criminal who lost everything to the flood. Oz and Victor’s pseudo father-son dynamic forms the beating heart of a tragic story of corruption, greed and violence; and accurately depicts how monsters are not born but created by a society that is sick at its core.
Additionally stirring the pot is Cristin Milioti’s Sofia Falcone, Carmine Falcone’s daughter who is released from Arkham Asylum after a 10-year stint and is looking to take control of her father’s empire.
“The Penguin” sings when Farrell is on screen. The Irish actor gives the role his all, and watching him go from impulsive and rage-filled violence to quiet vulnerability to easy charm and then wounded puppy is a treat to behold.
And it is not always an easy watch, either. An episode dedicated to Sofia’s backstory that examines her life before, during and immediately after her stint in Arkham Asylum makes for a riveting but incredibly grizzly and difficult sit. Milioti handles Sofia’s justified anger and need for control and power with mesmerizing charm and deliciously dark humor.
With “The Penguin,” LeFranc has created something truly transformative, and no amount of superhero fatigue should keep you from watching it.
Music Matters: Who to see at Azimuth
DUBAI: Here are the major acts performing at this year’s festival, which runs Sept. 19-21 in AlUla.
James Blake
The UK singer-songwriter, multi-instrumentalist, Grammy winner, and in-demand DJ and producer has managed the rare feat of maintaining both critical and commercial success for the majority of his career since first coming to prominence in his homeland with his eponymous 2011 debut album. That’s a feat which is even more impressive when you consider his penchant for stylistic experimentation, inspired by his love of electronic music. But whatever’s going on musically, his soulful soprano and smart, honest lyrics are a constant — his popularity as a collaborator among hip-hop’s A-listers tells you plenty about the latter.
Top tracks: “I Need A Forest Fire,” “Coming Back,” “Say What You Will,” “Where’s The Catch?”
The Blaze
Paris-based ambient electronic music duo consisting of cousins Jonathan and Guilluame Alric. They’re not the most prolific of acts — releasing just eight singles and two albums in seven years — but the high-quality of their output, not just in terms of songs, but visually too (their music videos have led to headlines like Fader’s “Somebody Give The Blaze an Oscar Already”), suggests that’s a wise strategy. Their music is a slow-burn delight that combines elements of pop, house, and dub to create something all their own. “Blaze” is French slang for “name,” but, Guillaume told Fader, “the principal meaning is warm and strong things — love, and hope.”
Top tracks: “Territory,” “Heaven,” “She,” “Places”
Ben Bohmer
Critically acclaimed German DJ-producer whose live shows generally see him embellish his tracks with live synthesizers and effects. He’s known for his progressive house sound, which also incorporates indie electronica elements. The Azimuth audience may well get to hear some as-yet-unreleased material too, as his new album, “Bloom,” drops Sept. 27.
Top tracks: “Breathing,” “Begin Again,” “Home”
Jamie Jones
The Los Angeles-based Welsh DJ-producer is a busy man. Not content with putting out a regular stream of his own music and being a good enough DJ to top Resident Advisor’s rankings in 2011, he’s also a member of the band Hot Natured, head of a record label, host of a radio show, and founder of online store House of Hot, which sells clothing, records, and artwork. In an interview with Wales Online, Jones credited his mother for giving him the emotional support to pursue his dreams of a career in music. He recalled that she told him she didn’t care what he did as long as he was happy, “and I think to hear that from your parent at an early age allows you the freedom to not care about some of the other pressures that life throws at you.”
Top tracks: “Lose My Mind,” “Fine Fine Baby,” “Summertime,” “La Musa”
Seth Troxler
The American DJ-producer famed for his mammoth live sets topped the Resident Advisor Top 100 DJs poll the year after Jamie Jones, in 2012. Like Jones, he’s a keen entrepreneur — founder of several labels and also owner of a barbeque restaurant in London, Smokey Tails. He’s known primarily on house and techno music, with a solid grounding in the Detroit (he’s a Michigan native) and Chicago sounds. But that’s not the sum of his music by any means. As he told Forbes in an interview last year, “The best genre is no genre. I try really not to be definable.”
Top tracks: “(still) WON’T4GETU,” “Hate,” “Dead Room; Trust; Dexter”
Ghostly Kisses
French-Canadian singer-songwriter Margaux Sauve heads up this musical project, which is also a collaboration with producer Louis-Etienne Santais, her real-life partner. Sauve’s singular vocals and gift for melodic melancholy have brought Ghostly Kisses international acclaim, although their most-recent album “Darkroom” saw a shift in atmosphere. Sauve told Montreal Rocks shortly before its release, “So far our music has been felt, mainly, for our introvert fans, but we wanted them also to feel it in their body and be able to move with the music. That was kind of a goal. I think this album is a bit more affirmative and maybe a bit more confident.” In that same interview, Sauve also mentioned that Ghostly Kisses’ fans are “mainly from” overseas, citing Saudi Arabia as one of the countries where her music is most popular.
Top tracks: “Empty Note,” “Golden Eyes,” “There’s No More Space”
‘The Camel Through the Ages’ exhibition opens at Ithra
- New exhibition ties in with Ministry of Culture’s Year of the Camel
DHAHRAN: The King Abdulaziz Center for World Culture (Ithra) is currently hosting “The Camel Through the Ages” exhibition at its Dhahran headquarters in collaboration with the Riyadh-based Layan Cultural Foundation. The show runs until Nov. 1 in a year designated by the Ministry of Culture as the Year of the Camel.
“Camels have long occupied a special place in the societies of the Arabian Peninsula, including the kingdom of Saudi Arabia; they were a means of transportation across vast distances, crossing mountains, valleys, and deserts, similar to ship movements within the sea waves,” Ithra said in a statement.
In an emotional keynote speech at the opening of the exhibition, LCF founder, Prince Faissal bin Abdullah bin Mohammed, expressed the significance of the camel to the Kingdom’s cultural heritage and as a symbol of strength and resilience.
Ghada Al-Tobaishi, executive director of the LCF said: “We are very pleased to cooperate with Ithra (on this) exhibition. This academic and cultural project aims to enrich the knowledge of many important facts of cultural heritage of past eras.”
Last year, the LCF published a two-volume Arabic-language book about camels, in cooperation with the King Abdulaziz Public Library. That was the inspiration for the current exhibition at Ithra. Some of the works were commissioned specifically for the exhibition, while others were part of the book. The show is curated by Kumail Muhammed Almusaly with the help of Maryam Al-Dossary.
“We, at Ithra, reached out to Layan Cultural Foundation to collaborate on an exhibit specifically for the Year of the Camel,” Almusaly told Arab News. “And it fits very well with the intent of this gallery, which focuses on the history of Saudi Arabia.
“We came up with five themes in order to create a journey in which the visitor could flow freely between the artworks — it is not a linear journey,” he added.
The five themes are: the camel as an iconic symbol of the Arabian identity; the camel as a meditative or spiritual connection — especially through Qur’anic verses; the camel as a source of pride in camel races and as part of the family; camels as part of oral or folk history; and camels as a companion, in times of rest and travel.
The first thing visitors see on entering the exhibition space is a collection of paintings, including a 2013 work by Saudi artist Abdulrahman Al-Soliman entitled “The Camel is not a Ship.”
“This is a statement by a pioneering artist,” Almusaly said. “(It’s) a piece that ‘corrects’ our perception toward camels. He is using text over the painting, which states that the camel is ‘not the ship of the desert.’ He wants to convert that perception back to the reality that the camel is a creature — it is not an object.”
This section of the exhibition also includes digital mosaics created by the LCF, alongside works from international and local artists. “There is a part where we switch to how Western artists have looked at Eastern culture — how they are examining the camel and Arabic culture from their perspective,” Almusaly explained.
After the paintings, the show moves on to sculptures of various styles and sizes, to photographs, to old coins and a few traditional garments. Arabic calligraphy is a part of many of the pieces.
According to Almusaly, the LCF has been instrumental in “maintaining culture, maintaining history and preserving culture through these materials,” bringing in experts to examine each object and in order to elevate our overall understanding of the camel.
The exhibition provides an opportunity to examine the camel through the eyes of various artists, and through a visual language that is steeped in Saudi identity, highlighting the vital role the camel has played in the Kingdom’s cultural and economic progress throughout history.
Saudi rapper Asayel discusses her debut single, ‘Asliyah’
DUBAI: Saudi rapper, singer and songwriter Asayel Bishi (who uses just her first name as an artist) has released her debut single, “Asliyah” on MDLBeast Records. In it, according to a press release, she “addresses naysayers and doubters with a playful smirk, her words laced with Hejazi slang (Bishi was born and raised in Makkah but now lives in Jeddah) and a wisdom beyond her years.”
The song is billed as “a statement of intent” and will serve, for most, as an introduction to Bishi’s music. Her flow, on this track at least, is deliberate, closer to a spoken-word performance than a rap. And that was a conscious decision, she says.
“I’m actually telling a story. I’m not really rapping and I’m not singing,” she says. “It’s like I’m talking to someone. This is stuff that really happened to me and stuff that I really want people to know. I’m basically telling how people have mocked my style. And the reasons why they don’t like my style. And at the end, I’m saying, like, ‘OK. I’m here. And I’m entering the scene.’”
The colorful accompanying video was shot on the streets of Jeddah.
“All the locations in the video are very famous (here). The director (Ahmed Lebleb) wanted to reflect the image that, here in Jeddah, you can do these (creative) things. It’s not just about the beach and swimming,” Bishi explains.
“Asliyah,” Bishi tells Arab News, was the first song she wrote in Arabic.
“When I started out, I was writing in English, but when I started working with MDLBeast, they told me, ‘OK, now you need to focus on the Arabic side because you need to communicate with your community,’” she says. “They also told me about other artists — local artists — I should be listening to, like Moayad and Dafencii.”
It’s been an inspiring change, Bishi explains. “I have purpose now,” she says. “I want to do it to improve myself, but also to encourage other girls to go out and to sing, to perform, to write, to rap… to build this female music community.”
