DUBAI: A haven for humans craving furry feline company, a cat cafe in Dubai also doubles as an adoption center for some of the United Arab Emirates’ many strays.
The Ailuromania Cat Cafe, which was the Middle East’s first cat cafe when it opened in 2015, hopes the relaxing properties of its 25 rescue and shelter cats will help find them their forever homes.
“Anyone who is stressed just has to find a cat. All your stress will go away,” said Omnia Fareed, whose two cat-loving sisters Allaa and Iman started the cafe after university, taking inspiration from similar establishments in Korea and London.
The cafe’s original residents were strays taken in by the family over the years. Now Ailuromania hosts cats from a government-run animal shelter in the neighboring emirate of Ras al Khaimah, hoping to increase adoptions.
The cafe’s name Ailuromania is a play on the Greek-derived English word for a lover of cats: ailurophile.
The cafe has regular customers who come seeking relaxation from the stresses of life, or because they cannot keep a cat at home.
“They are so cute, they love playing,” said visitor Shaasthra. She said she appreciates how the cafe looks after the cats’ welfare by advising people not to hold them or wake them up.
Another regular visitor, a street cat who would stare in through the window, was also invited and eventually adopted.
Since Dubai began lifting coronavirus lockdown measures last summer, the cafe re-opened with capacity and sanitization restrictions.
Dubai has a large number of stray cats, with many abandoned on the streets by their owners. In 2018 UAE authorities made it illegal to abandon animals, but animal welfare activists in Dubai have for years called for a large-scale trap-neuter-release scheme and feeding programs to bring numbers down humanely.
In August, Dubai municipality issued a circular restating a policy of fining anyone caught feeding strays, saying it increases the spread of diseases.
DUBAI: The latest collaboration between Casablanca x New Balance dropped yesterday on casablancaparis.com and, naturally, it sold-out within minutes – Footwear designer Amina Muaddi took to Instagram to show off her pair – But, if you didn’t manage to click “add to cart,” then we have some good news for you: You can still get your hands on a pair of the highly covetable footwear when they drop in the region next week.
Drop III comes in two silhouettes. The 327 boasts an octopus-like outsole that extends up the shoe and an interlocking Moroccan tile print that stays true to the French-Moroccan designer Charaf Tajer’s North African roots.
New Balance x Casablanca 327 silhouette. Supplied
Meanwhile, featuring a wedge heel, suede, mesh and nylon upper, as well as Casablanca’s signature monogram design, the 237 is an entirely new silhouette. Unlike the 327 style, the lugs on the outsole are less bold and don’t extend up the back of the shoe.
Both trainers feature a clean white, pink and green colorway and an oversized “N” logo on the upper.
It’s not the first time the Paris-based apres-sports fashion house and the footwear company have joined forces. In fact, this recent drop marks their third footwear collaboration together.
New Balance x Casablanca 237 silhouette. Supplied
Casablanca’s first collaboration with New Balance debuted last year, when the 327 dropped in zesty orange and green colorways, inspired by Moroccan sweet oranges and tennis uniforms, respectively.
The Casablanca x New Balance 327 and 273 sneakers will be available to purchase on March 5 at 9am (KSA time) on newbalance.co.ae and will be retailing for $163 for the 327 and $150 for the 237. Given how quickly the shoes sold out online on Feb. 27, we suggest setting an alarm.
LONDON: “White Eye” — a short film from writer-director Tomer Shushan — serves as a masterclass in concise storytelling. After all, the pivotal moment at the heart of Shushan’s semi-autobiographical (and recently Oscar-nominated) short involves little more than a dispute over a stolen bicycle, with no lavish set pieces or special effects required to create an enthralling atmosphere. Furthermore, “White Eye” is shot in a single, continuous take that follows Omer (Daniel Gad) as he tries to retrieve his stolen bike.
The short film from writer-director Tomer Shushan serves as a masterclass in concise storytelling. Supplied
The camera buzzes around Omer, sometimes looking over his shoulder, then backing up to show events unfolding in front of him, or circling to show the audience what he can’t see. It makes for an intense 20 minutes of cinema, and it’s no surprise that “White Eye” has made it to the 10-movie shortlist for the Best Live Action Short Film at the 93rd Academy Awards.
“White Eye” is shot in a single, continuous take that follows Omer (Daniel Gad) as he tries to retrieve his stolen bike. Supplied
Shushan keeps the scale of the film small. “White Eye” takes place in a single building and on the street outside. As Omer’s attempts to get his bike back escalate into a far more high-stakes situation, there’s a palpable sense of rising tension and, without giving away too much of the story (which would undo the strength of the narrative), Shushan begins to ask a number of uncomfortable questions — about assumption, about prejudice, about empathy and retribution.
“White Eye” takes place in a single building and on the street outside. Supplied
The 20-minute runtime flashes past in a heartbeat as the tiny world the film inhabits becomes both more familiar through repetition, and more uncomfortable as the severity of the situation dawns on Omer — and, by extension, the audience. Thanks to an understated performance from Gad, we see Omer begin to ask himself the hard questions about the strength of his own character. And by that point, we’re so taken in by Shushan’s carefully crafted microcosm that we can’t help but ask ourselves the same of our own humanity.
DUBAI: US-Palestinian-Dutch model Bella Hadid offered fans a glimpse into how she treats her autoimmune disorders in an Instagram post this weekend.
On Friday, the 24-year-old posted a series of photos showing her hooked up to an intravenous drip. “Living with a few chronic autoimmune disease = always finding time for my IVs,” she captioned the post.
Hadid was diagnosed with Lyme disease in 2012 alongside with younger brother Anwar, 21, and their mother, Yolanda, 57.
In 2016, Bella opened up to People magazine about dealing with Lyme disease while being in the spotlight.
“Life isn’t always what it looks like on the outside, and the hardest part of this journey is to be judged by the way you look instead of the way you feel,” she said at the time.
DUBAI: Norwegian designer Peter Dundas presented the Dundas Fall 2021 collection this week with a little help from Malika El-Maslouhi. The fashion heavyweight tapped the Moroccan-Italian rising model to showcase the glamorous new offering, which was digitally presented in a look book format.
The 22-year-old, who was born in Milan to an Italian mother and a Moroccan father, features in the look book, shot by fashion photographer Charlotte Wales in London, wearing 31 looks that range from draped minidresses and velvet pantsuits to slender duster coats and the brand’s newest category — hosiery.
“If we’re ever allowed to go out at night again, I promise I’m stepping out in @dundasworld,” wrote El-Maslouhi on Instagram alongside a carousel of videos and photos that included backstage clips from the shoot. “What a fun day it was and loved to rock these looks. Thank you for having me,” she added.
Indeed, the collection is perfect for post-lockdown revelry.
Inspired by the glamour of the 1930s and the 1970s, the collection was punctuated with flowy wide-leg trousers, tailored jackets worn over lavish dresses, fringed tops and skirts, feathered cardigan dresses and lots of animal print.
The model posed for Norwegian designer Peter Dundas’s latest collection. Supplied
The London-based designer chose rich and luxurious fabrics such as velvet and charmeuse and details like ostrich fur and sequins to dream up the latest offering.
El-Maslouhi, who is signed to VIVA Model Management, made her modelling debut when she was 18 years old at the Alberta Ferretti Fall 2019 show and went on to walk for the Dior Cruise 2020 show held in Marrakech a month later.
She would go on to quit her university studies to pursue modeling full-time, and completely captivate the fashion industry in the process.
The model posed for Norwegian designer Peter Dundas’s latest collection. Supplied
In addition to gracing the runways of storied fashion houses such as Hermes and Chanel, the rising fashion star has also appeared in international campaigns for the likes of Jacquemus and Zadig & Voltaire, and was selected as the face of Calvin Klein swimwear.
Meanwhile, the model, who splits her time between Italy, France and the Netherlands, was also recently selected as the cover star of the latest edition of Elle France.
DUBAI: Sunglasses might be a small accessory, but they have a large impact. The importance of a great pair of shades can’t be understated, especially in our region where the sun shines virtually all year round. Fortunately, the sunglasses market is brimming with stylish and wearable shapes to suit all faces and styles. The most recent pair to hit our radar is the new Valentino x Magrabi sunglasses. Dubai-based fashion influencers Maram Zbaeda and Zoya Sakr were recently spotted rocking a pair.
The Italian luxury maison has collaborated with the regional eyewear brand on a limited-edition range of sunglasses that hit shelves this week.
The exclusive collaboration is limited and features just 30o pairs of bold, square-shaped sunglasses engraved with “Valentino Magrabi Edition” inside the temple. The acetate shades also boast smoked lenses and the iconic VLogo Signature in gold metal on the side for an added statement.
The Valentino x Magrabi sunglasses. Supplied
Each pair comes enclosed inside a sleek red box bearing Valentino’s distinctive logo, alongside a unique authenticity card and serial number, so it would also make a covetable gift to give and to get.
The exclusive collaboration is available to purchase at Magrabi stores across Saudi Arabia, UAE, Qatar, Egypt and Kuwait, and with summer just around the corner, consider picking up a new pair—or two, for the even sunnier days ahead.
DUBAI: Last week it was announced by Saudi Arabia’s Ministry of Culture that Burak Cakmak had been appointed to lead the Kingdom’s Fashion Commission, one of the 11 bodies under the Kingdom’s Ministry of Culture, to help develop the country’s burgeoning fashion industry.
“I was honored to have a chance to join the team at the Fashion Commission to lead the implementation of an ambitious strategy to build a robust fashion industry in Saudi Arabia,” said Cakmak, a former Dean of Fashion at the Parsons School of Design in New York, to Arab News.
“Saudi Arabia has all the key elements for building a successful fashion industry today. With traditions and heritage to inspire, its creative community keen to build new businesses and a fashion conscious young population engaged in retail and social media with fashion. Saudi (Arabia) is in a great place to become a key influencer in the region and globally,” he added.
In his new role as the CEO of the Fashion Commission, Cakmak will be responsible for a string of tasks, including supporting and empowering talent, professionals and entrepreneurs in the local fashion industry, developing and regulating the fashion sector as well as encouraging finance and investment.
“One of my main focus areas is to identify opportunities for Saudi to create fashion solutions that are innovative, technology driven, sustainable and aligned with the expectations of the 21st century global consumer,” said Cakmak of some of the changes he would like to implement in his new role.
“As we are building and growing a relatively new industry in the country, we need to ensure we don't repeat the mistakes of the West from the past century. This means that we need to focus on building new business models that are able to manage social and environmental impacts, (and that are) transparent and innovative in the way they engage the consumer.”
In addition to managing and developing the fashion sector in Saudi Arabia, Cakmak also hopes to shine a positive spotlight on the Kingdom’s burgeoning fashion scene.
“At the moment there is not enough information available about the creativity coming out of the Kingdom to the rest of the world,” he noted. “The richness of the country’s heritage and crafts, as well as its designers, with both traditional and modern takes on Saudi fashion, is a great starting point for us to start shaping perceptions around the Saudi creative industry.”
In the past two years alone, Saudi Arabia has rolled out a series of changes that can be attributed to Vision 2030, a plan that focuses on modernizing Saudi culture, diversifying its economy away from oil, attracting new global investments, and supporting small local businesses. One of the areas that is showing real potential is the country’s fashion sector.
“Recent initiatives around tourism and a deeper focus on diversifying local economic sectors have been a great catalyst in stimulating the fashion industry,” Cakmak said.
Models backstage ahead of the Arwa al Banawi show at Fashion Forward October 2017. Getty Images
Indeed, the country’s fashion sector is rapidly on the ascent. In the last couple of years, the country hosted its first-ever Fashion Week in Riyadh in 2018, the Dubai-based Arab Fashion Council opened up an office in Riyadh and Saudi fashion designers are getting more recognition than ever as they lay the groundwork for a real, thriving fashion industry.
“Mohammed Khoja’s brand, Hindamme, produced a jacket embroidered with the words ‘24 June 2018’ – the date women in Saudi started driving, which was acquired by the Victoria & Albert Museum in London as part of their permanent fashion collection. Meanwhile at the end of last year, the brand of Saudi sisters – Sarah and Siham Albinali – Lurline, was declared joint second runner-up in the Vogue Arabia Fashion Prize. And one of Mohammed Ashi’s creations was worn on the red carpet by Oscar-nominated director and screenwriter Ava DuVernay at the Academy Awards in 2017,” recalled Cakmak, highlighting some of the many success stories from Saudi Arabia.
Jory Al Maiman and Lujain wearing the Hindamme embroidered jacket. Photographed by Ekleel Al Fares
But despite growing interest and support from events like Arab Fashion Week, a lot of brands struggle with a lack of access to capital and resources necessary in a functioning fashion ecosystem. Cakmak hopes to change that in his new role.
“A brand can only succeed if they are able to couple creativity with a sound business strategy,” he explained, adding “I am working closely with the Fashion Commission team and the Ministry of Culture to ensure we are creating the right infrastructure to develop the industry. First and foremost, we want to support fashion entrepreneurs with the right regulatory frameworks relevant to the fashion industry. As we assess the local fashion ecosystem, we are identifying areas for new job opportunities and fashion businesses that can be created locally to support a growing fashion industry in Saudi Arabia.”
Cakmak received a bachelor’s degree at the Middle East Technical University in Turkey in 1997.
His career in the fashion industry began in 2000, serving as Gap Inc.’s senior manager of social responsibility. After eight years, he relocated to London and was hired by European conglomerate Kering to lead sustainability strategies for the luxury group’s brands — including Gucci, Saint Laurent and Balenciaga — as its first director of corporate sustainability.
In January, Saudi designer Ahmed Alwohaibi staged the kingdom's first-ever independant fashion show in Riyadh. Supplied
He was appointed as dean of fashion at Parsons School of Design in 2016, where he made it his mission to educate the next generation of fashion creatives about the importance of environmental and social responsibility.
With his 15-year-strong background in sustainability, Cakmak hopes to make the topic a key focus in his new role in Saudi.
“As the Fashion Commission, we are keen to bring the latest tools for measuring and reporting on the sustainability impact to local brands and share knowledge on how to build more sustainable business models for the fashion industry,” he shared.
“Made in KSA will be a key focus to create short supply chains where we can encourage on-demand production and mass customization to minimize returns and left-over inventory for the industry,” he added of his strategy to minimize the impact of the fashion supply chain in the Kingdom.
As for his long-term goals for Saudi’s fashion sector, Cakmak just wants to position the country as a key player in the global fashion industry.
“In collaboration with the Fashion Commission team, Ministry of Culture and all other relevant government entities, I hope to put in place the incentive and infrastructure to achieve this goal,” he said.
“I have worked with fashion businesses all across the globe and have a good understanding of the opportunities and challenges they face. I also have a good view on the latest developments in the industry, and access to a global network of experts who we can tap into to shape the future of fashion in the Kingdom. I am really excited to be a catalyst to bring such positive change to the country.”
Opening up new frontiers in birdwatching, this is the first field guide to focus specifically on the identification of European passerines and related land birds in flight. Showcasing 850 stunning and remarkably lifelike color illustrations from acclaimed bird artist Tomasz Cofta, produced using the latest digital technology, backed up with more than 2,400 photographs carefully selected to show typical flight profiles, it provides detailed and unsurpassed coverage of 205 European passerines and 32 near-passerines. This cutting-edge book brings a new dimension to birdwatching, the concise and authoritative species accounts presenting novel yet essential information on the flight manner of individual birds and the structure and behavior of flocks — features that are key to identification, says a review on the Princeton University Press website. It also includes precise transliterations of flight calls, supported by sonograms, and links to a unique collection of hundreds of online audio recordings. Beautifully designed and written in an accessible style, this book will appeal to birdwatchers of all abilities.
What We Are Reading Today: A Decade of UpheavalWhat We Are Reading Today: The Virus in the Age of Madness by Bernard-Henri Lévy https://ift.tt/37N3CPJ February 27, 2021 at 01:11AM
LONDON: It must be strange for artists to hear people theorizing about their art. Talking to Tammam Azzam, you get the sense that, while he is happy to engage and listen, the Syrian artist is not particularly interested in adding layers of rumination to what he has already expressed on canvas.
“Sometimes even the artist cannot realize the message because there is no message — just a visual language,” he says. “Even I don’t know exactly what it means.”
Part of the reason that people want to talk about the ‘meaning’ or ‘message’ in Azzam’s work is that his images are so powerful. When you look at his photomontage “Bon Voyage” — showing a shattered Syrian apartment block suspended by balloons in front of the burning Twin Towers — you feel a flood of mixed emotions. Azzam explains the thinking behind the piece: “This image is about the evil and imbalance in our world. Every life is important, whether American or Syrian, and it is right that 9/11 is commemorated every year. But who is commemorating the Syrian casualties?”
Part of the reason that people want to talk about the ‘meaning’ or ‘message’ in Azzam’s work is that his images are so powerful. (SUPPLIED)
Azzam’s 2013 “Syrian Museum” photomontage series, in which he inserted famous masterpieces into scenes of destruction from the ongoing civil war in his country, garnered international attention. Asked why he juxtaposed Vincent van Gogh’s “The Starry Night” with the mangled wreckage of a bombed-out building, he answers: “Besides my love and admiration for Van Gogh, I chose to show his night sky — full of energy and movement — to make a sharp contrast between beauty and destruction.”
Another striking image from the same series shows Paul Gauguin’s “Tahitian Women on the Beach” transplanted into an arid landscape with a UNHCR refugee tent in the background. “This came from seeing women around the camps just sitting and waiting — actually for nothing,” he says. “Gauguin’s women were sitting and contemplating and I just put them in a different location, situation and atmosphere.”
Much of the global attention was focused on “Freedom Graffiti,” which superimposed Gustav Klimt’s “The Kiss” onto a ruined apartment block. It was the final image in the series and Azzam was taken aback by the publicity it attracted.
160x240 cm, paper collage on canvas, 2019 (Supplied)
“It’s strange, because as an artist I was just creating my work. I don’t know the secret behind that,” he says. “I spent a year working on this project and after the Klimt I felt that there was no need to go further,” he said. “I am always questioning myself: ‘How long am I going to use this technique and why?’”
Azzam studied fine art at Damascus University, specializing in oil painting. And after graduating, he went into graphic design. The combination of those two disciplines clearly informs his work, and he mentions the German-based Syrian artist Marwan Kassab Pashi — whose workshop he attended at university — as a major influence.
In 2011, Azzam was forced to flee his country. He was assisted by Ayyam Gallery, which has helped him and other artists start new lives in Dubai and Beirut. For Azzam, the pain of leaving was amplified by the loss of his studio and materials, on top of the cultural shift.
The Syrian artist is not particularly interested in adding layers of rumination to what he has already expressed on canvas. (Supplied)
“It took me three years to adjust to living in Dubai. It’s another system and mentality. Everything was different. And very expensive. In Damascus I had my studio and my materials. In Dubai I felt everything was lost; I couldn’t go anymore to the old souk where I used to get my materials,” he says. “Before Dubai I never thought about creating digital art, but because I was a graphic designer for 10 years in Syria, that helped me make the shift.”
After five years in Dubai, he moved to Germany in 2016 taking up a residency at the Hanse Institute for Advanced Studies in Delmenhorst. Once again, he found himself grappling with the challenges of adapting to a new environment, culture and language. In 2018, he moved to Berlin where he now lives. His family is scattered due to the war.
“Like so many Syrian families, we are dispersed around the world,” he says. “It’s sad, but it’s nothing compared to what’s happening to people still in the country and unable to leave. My parents are still in the village where my father, a writer, has his library. He is still writing. They are not in a conflict area, but daily life is difficult with just a few hours of electricity each day and no gas for heating.”
His next show is at Berlin’s Kornfeld gallery in April and that is the focus of Azzam’s carefully structured days at the moment. (Supplied)
His parents, he says, were always supportive of his desire to be an artist. “I was lucky,” he says. “It was my dream from a young age. To be an artist is an endless dream.”
In Germany, his focus recently has been on collage. “It was a new step for me — a big challenge to use a new medium,” he says. Even in this new medium, however, the message remains consistent. One recent work is a representation of a building with its façade blown out, revealing glimpses of wallpaper, painted walls, and fabrics, all exposed to the elements. “I saw so many building like this,” he says. “Totally destroyed with interiors that used to be full of life and color.”
His next show is at Berlin’s Kornfeld gallery in April and that is the focus of Azzam’s carefully structured days at the moment.
“I work every day, alone. It is very important to me to work otherwise I can’t do anything,” he says. “I feel optimistic even with all the bad daily news. We will find good things alongside the bad.”
DUBAI: Through their 2011 installation, The Paris-based Lebanese duo reflect on their 2011 installation, inspired by the Lebanese Rocket Society from the 1960s.
Lebanese Rocket Society. (Supplied)
Hadjithomas: It all started with my sister. She was researching Lebanese history and came across this story about rockets being launched from Lebanon (in the Sixties). It stayed in our minds. A few years later, we saw the stamp of the Cedar IV rocket, which was issued in 1964, and we thought it was really interesting.
Joreige: We wondered why such a positive project disappeared from our history and memory.
H: The Lebanese Rocket Society started in 1960 at Haigazian University. There was a professor — Manoug Manougian — who was really fond of rocketry. His students started making rockets and propellants at the university. The Lebanese Army joined in, but for Manoug and his students it was always an educational project — never a military one.
J: It wasn’t nationalistic either. Most of the people involved weren’t Lebanese — they came from all over the region. Through education, they were building peace.
H: They thought they were contributing to the space race — they were contemporary to the rest of the world, researching this fascination that people had for space. It’s about hope and dreams. So we felt that we should tell this story and find all the people that participated. That was not easy because they were scattered all around the world.
J: We had to think about different strategies of reactivating the past in the present.
H: So we rebuilt a rocket with the help of Sharjah Biennale and we offered it to Haigazian University. Reconstitution is a way of giving matter — reality — to our lost memories. That’s why it was important to redo the rocket exactly as it was. We chose Cedar IV because it was one of the most successful, but we didn’t put the Lebanese flag on it.
J: if you put a flag on it, it would become national and militaristic. By keeping it white, it’s a place of projection, a ghostly presence.
H: Today, it seems like a military missile but it’s not.
J: The UAE probe (which reached Mars on Feb. 9) is called “Hope.” When you are targeting another dimension, something you don’t know, it is always a question of hope.
H: Lebanon is very rich in its people, but we are hostages of people that are corrupt and think only about themselves. We were really happy for the UAE when “Hope” reached Mars, and I think the Lebanese reacted to it because they felt they should also be dreaming — and having the possibility to reconstruct and free themselves from those corrupt people.
DUBAI: The silence atop Table Mountain on a cloudless afternoon in December is an experience only the COVID-19 pandemic could have brought.
As one of the most popular hikes (or cable-car rides, if you’d prefer an easier climb) in Cape Town, the summit is usually thronging with people wielding selfie sticks and smartphones whatever the day, leaving you jostling for a decent view of the famed Twelve Apostles to the left, and the sweeping city and harbor to the right. But on this Friday evening we find ourselves alone except for our guide and a peppy rock hyrax for company.
Naturally, South Africa’s tourism capital is a different place during the pandemic. Like elsewhere in the world, it’s largely devoid of international travellers. This is bad news for the country’s tourism industry, but a positive point if you’re one of the few choosing to head abroad.
In Franschhoek, the picturesque valley filled with vineyards just north-east of Cape Town, a seat at one of the country’s premier restaurants has never been easier to come by. (Shutterstock)
The city’s top hotels are offering large discounts to entice travellers in. And Cape Town’s premier attractions — including its world-renowned restaurants — are easier to get into then ever.
South Africa opened its doors to tourists on November 1, but has since faced challenges in being perceived as a safe place to visit. In December, President Cyril Ramaphosa announced the country was in a second wave of infections, one that was crippling the hospital system. The South African variant of COVID-19 was also discovered. Flights into and out of the country were cancelled. Ramaphosa closed beaches and public parks and enforced a number of other restrictions in perceived hotspots — including Nelson Mandela Bay and the famous Garden Route. The move was another blow for the tourism industry there, which, after a tough lockdown period earlier in the year, was relying on the incoming flock of domestic tourists for the festive season.
If you’re staying at the One and Only Cape Town, seek out David. (Shutterstock)
Cape Town and the surrounding area escaped strict restrictions, however. Its beaches, as well as the sparkling white bays and the quirky towns dotted around Cape Peninsula (Hout Bay, Kalk Bay, Muizenberg etc) are humming with locals. It’s a relative hum, however, with only a few beachfront restaurants nearing capacity and a palpable air of uncertainty.
Wandering along Cape Town’s beachfront, you’ll be hard-pressed to hear a foreign accent. You can wander through Kirstenbosch Botanical Gardens and not see another face for long periods of time. On a hike up Table Mountain, you might only encounter a couple of other people on the same route. The uncrowded outdoors beckon.
Many of the hikes in the city (Lion’s Head is another must-do) seem easy enough, but are better attempted with a guide — both for safety and enjoyment. Most hotels will either have one on staff or will be able to arrange one for you. If you’re staying at the One and Only Cape Town, seek out David. He’s knowledgeable about hidden spots on the hike, as well as about the area’s fauna and flora, meaning your hike will be peppered with educational tidbits too.
Babylonstoren is arguably the region’s most popular spot. (Shutterstock)
One and Only Cape Town is a top choice if you’re looking to stay central — nestled in around the waterfront. Its affable army of staff positioned around the property at all times are vigilant about temperature checks and sanitization, and it’s a diverse enough hotel to mean you never have to leave if you’re nervous about mixing in crowds. A central island of resort-style rooms offer an escape to a tropical island in the middle of the city, surrounded by waterways where you can kayak or paddleboard.
The hotel is also home to Africa’s only Nobu restaurant. Given the freshness of the catch in this area of the world, it’s the perfect place to break up all your heavy game meals. Better yet, spend a rainy day trying a sushi masterclass and learn Nobu’s famous six-step nigiri method.
Given the freshness of the catch in this area of the world, it’s the perfect place to break up all your heavy game meals. (Shutterstock)
Best of all, the Western Cape’s world-famous restaurants don’t need to be booked months in advance at the moment. Even in the really touristy areas.
In Franschhoek, the picturesque valley filled with vineyards just north-east of Cape Town, a seat at one of the country’s premier restaurants has never been easier to come by. For instance, at Babylonstoren, arguably the region’s most popular spot, bookings for its restaurant Babel open nine months in advance, with its website recommending booking two or three months in advance. Now, you can book with less than 24-hours notice.
La Residence, Franschhoek’s most beautiful property (and a favorite of Sir Elton John), is a boutique option at the best of times, but now it seems almost as though it’s your own private mansion. The 30-acre estate is positioned on a hillock overlooking the village on one side and with lines of vines on the other, as emboldened peacocks wander around your room, and up to your table at breakfast time. One couple has booked in for 46 nights, which may be a bit much, but it’s hard to blame them, given the (relatively) bargain prices and lack of crowds.
If you’re willing and able to travel — and if the country’s borders are open again — this might be the best possible time to visit this dazzling city.
A Decade of Upheaval chronicles the surprising and dramatic political conflicts of a rural Chinese county over the course of the Cultural Revolution.
Drawing on an unprecedented range of sources — including work diaries, interviews, internal party documents, and military directives — Dong Guoqiang and Andrew Walder uncover a previously unimagined level of strife in the countryside that began with the Red Guard Movement in 1966 and continued unabated until the death of Mao Zedong in 1976.
Showing how the upheavals of the Cultural Revolution were not limited to urban areas, but reached far into isolated rural regions, Dong and Walder reveal that the intervention of military forces in 1967 encouraged factional divisions in Feng County because different branches of China’s armed forces took various sides in local disputes.
The authors also lay bare how the fortunes of local political groups were closely tethered to unpredictable shifts in the decisions of government authorities in Beijing, says a review on the Princeton University Press website. Eventually, a backlash against suppression and victimization grew in the early 1970s and resulted in active protests, which presaged the settling of scores against radical Maoism.
What We Are Reading Today: The Virus in the Age of Madness by Bernard-Henri LévyWhat We Are Reading Today: War https://ift.tt/2ZTGavU February 25, 2021 at 11:35PM
LONDON: An upcoming artist from Saudi Arabia has revealed the results of his collaboration with a British counterpart, launching digital artwork that “seeks to recalibrate viewers’ perception of ‘the other’ culture.”
Riyadh-based Meshal Al-Obaidallah worked with artist Carolin Schnurrer to produce the work, called “FAREWELL ARABIA: A Bold New Vision,” as part of the Connect ME Digital Residency program run by the Arab British Centre.
The initiative pairs young artists from the Gulf with British counterparts to foster artistic collaboration, and to consider how digital tools can encourage connectivity across borders despite the challenges posed by the coronavirus pandemic.
As part of the program, the young artists received mentorship from prominent Saudi artist Manal Al-Dowayan.
The work by Al-Obaidallah and Schnurrer explores Saudi Arabia’s rapid development during the 20th century and how it changed society, as well as looking ahead at what the future might hold for the Kingdom.
“Through our exchange, we collected found footage, sound bites, quotes, symbols and other fragments,” said Al-Obaidallah.
“These re-appropriated fragments were processed, destroyed, accelerated, decelerated and rearranged,” he added, describing it as a “mishmash of fact and fiction.”
Eilidh Kennedy McLean, British Council country director for Saud Arabia, congratulated Al-Obaidallah on representing the Kingdom in the residency, saying: “It is an incredible, interesting time for artists to explore different mediums of collaborations to create and innovate despite the physical restrictions during COVID.”
Also selected to participate in the Connect ME program were Emirati artist Dina Khatib and British artist Ollie Cameron.
They collaborated to create a work that explores “how visualizing the unseen space between them could become a means for connection and exchange.”
All four artists and their mentor Al-Dowayan will host an online talk on March 3 to discuss the program and their creations in-depth.
Arab British Centre to hold digital art program for UK, GCC creativesMeet the five nominees for this year’s Arab British Centre Award for Culture https://ift.tt/3pWZwL3 February 25, 2021 at 03:12PM
Wazen, who is an eyewear designer and has a brand bearing her name, shared images with her 5.5 million Instagram followers featuring statement pieces from Prada’s upcoming collection.
The Dubai-based fashion influencer wore a satin top and pants in purple, pairing the outfit with an off-white purse and black pointy-toed heels. Dangly black Prada earrings completed the look.
Miuccia Prada and Raf Simons will have a conversation to discuss the new launch following the new collection’s release.
Marc Jacobs, US model Hunter Schafer, film director Lee Daniels, DJ Richie Hawtin, and Dutch architect Rem Koolhaas will join the conversation virtually. The talk will be moderated by YouTube’s Derek Blasberg, who is a US journalist and author.
The collaboration between Prada and Simons was first announced last year.
The Italian has been the creative force behind one of the most successful luxury brands for 30 years, while Simons is considered to be one of the fashion world’s biggest talents.
His future has been the subject of intense speculation since he left Calvin Klein in 2018. He was previously creative director at Jil Sander and Dior. He also has his own label.
