The Eurovision Song Contest kicked off with pop and protests as the war in Gaza casts a shadow

The Eurovision Song Contest kicked off with pop and protests as the war in Gaza casts a shadow
Singer Loreen performing on behalf of Sweden celebrates with the trophy after winning the final of the Eurovision Song contest 2023 on May 13, 2023 at the M&S Bank Arena in Liverpool. (Oli SCARFF / AFP)
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Updated 08 May 2024
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The Eurovision Song Contest kicked off with pop and protests as the war in Gaza casts a shadow

The Eurovision Song Contest kicked off with pop and protests as the war in Gaza casts a shadow
  • Israel is a Eurovision participant, and demonstrations are planned on Thursday and Saturday

MALMO, Sweden: Competition in the 68th Eurovision Song Contest kicked off Tuesday in Sweden, with the war in Gaza casting a shadow over the sequin-spangled pop extravaganza.
Performers representing countries across Europe and beyond took the stage in the first of two semifinals in the Swedish city of Malmo. It and a second semifinal on Thursday will winnow a field of 37 nations to 26 who will compete in Saturday’s final against a backdrop of both parties and protests.
Ten of the 15 acts performing Tuesday were voted through to the final by viewers. They include Croatian singer-songwriter Baby Lasagna, whose infectious electro number “Rim Tim Tagi Dim” is the current favorite to win, and Ukrainian duo alyona alyona and Jerry Heil, flying the flag for their war-battered nation with the anthemic “Teresa & Maria.”
Also making the cut were goth-style Irish singer Bambie Thug, 1990s-loving Finnish prankster Windows95man and Portuguese crooner Iolanda. Iceland, Azerbaijan, Poland, Moldova and Australia were eliminated.
Other bookmakers’ favorites who will perform Thursday include Swiss singer Nemo, Italian TikTok star Angelina Mango and the Netherlands’ Joost Klein with his playful pop-rap song “Europapa.”
Security is tight in the Swedish city, which expects an influx of some 100,000 Eurovision fans, along with tens of thousands of pro-Palestinian protesters. Israel is a Eurovision participant, and demonstrations are planned on Thursday and Saturday against the Israel-Hamas war, which has left almost 35,000 Palestinians dead.
Israel’s government warned its citizens of a “tangible concern” Israelis could be targeted for attack in Malmo during the contest.
Organizers told Israel to change the lyrics of its entry, originally titled “October Rain” in apparent reference to Hamas’ cross-border Oct. 7 attack that killed some 1,200 Israelis and triggered the war. The song was renamed “Hurricane” and Israeli singer Eden Golan was allowed to remain in the contest.
Jean Philip De Tender, deputy director-general of Eurovision organizer the European Broadcasting Union, told Sky News that banning Israel “would have been a political decision, and as such (one) which we cannot take.”
Police from across Sweden have been drafted in for Eurovision week, along with reinforcements from neighboring Denmark and Norway.
Sweden’s official terrorism threat level remains “high,” the second-highest rung on a five-point scale, after a string of public desecrations of the Qur’an last year sparked angry demonstrations across Muslim countries and threats from militant groups. The desecrations were not related to the music event.
Eurovision’s motto is “United by Music,” but national rifts and political divisions often cloud the contest despite organizers’ efforts to keep politics out.
Flags and signs are banned, apart from participants’ national flags and the rainbow pride flag. That means Palestinian flags will be barred inside the Malmo Arena contest venue.




Eric Saade, a former Swedish Eurovision contestant, had a keffiyeh, a headscarf associated with the Palestinian cause, tied around his wrist. (AFP)

Some musicians seem determined to make a point. Eric Saade, a former Swedish Eurovision contestant who performed as part of Tuesday’s show, had a keffiyeh, a headscarf associated with the Palestinian cause, tied around his wrist as he sang.
Afterwards, organizers said in a statement that “we regret that Eric Saade chose to compromise the non-political nature of the event.”
Performers are feeling political pressure, with some saying they have been inundated with messages on social media urging them to boycott the event.
“I am being accused, if I don’t boycott Eurovision, of being an accomplice to genocide in Gaza,” Germany’s contestant, Isaak, said in an interview published by broadcaster ZDF. He said he did not agree.
“We are meeting up to make music, and when we start shutting people out categorically, there will be fewer and fewer of us,” he said. “At some point there won’t be an event anymore.”
One person who knows how Eurovision unity can collide with bitter reality is singer Manizha Sangin, who represented Russia at the contest in 2021. The country was expelled the following year over its invasion of Ukraine.
Manizha, who performs under her first name, spoke out against the war. As a result, her performances were canceled in Russia and her music banned from public spaces. The singer remains in Russia but has found it all but impossible to work.
“People are afraid to work with me here because they’re afraid to have consequences after, problems after that,” she said.
Despite the difficulties, Manizha has recorded a single, “Candlelight,” which she is releasing on Wednesday as “a message of hope.”
“Music cannot stop war,” she said. But “what music can do is inspire people.”
Manizha thinks Russia will one day return to the Eurovision fold – but not soon.
“Maybe next generation,” she said. “But for now, relationships are too complicated. And then that makes me sad, you know, because that’s why people are not hearing each other. Because we are separated from each other. And the thing, is music should unite.”


REVIEW: Timothée Chalamet dazzles as Bob Dylan in ‘A Complete Unknown’

REVIEW: Timothée Chalamet dazzles as Bob Dylan in ‘A Complete Unknown’
Updated 2 min 1 sec ago
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REVIEW: Timothée Chalamet dazzles as Bob Dylan in ‘A Complete Unknown’

REVIEW: Timothée Chalamet dazzles as Bob Dylan in ‘A Complete Unknown’

DUBAI: There’s a scene roughly two-thirds of the way through “A Complete Unknown” when Bob Dylan (played by Timothée Chalamet) and Joan Baez (Monica Barbaro) sing “It Ain’t Me Babe” on stage at the Newport Folk Festival. It’s an extraordinary, electrifying performance — one that encapsulates the mesmerizing musical clarity and emotional power of this brilliant yet flawed biopic.

The opening quarter of James Mangold’s film is rich with such moments: a young, carefree Dylan singing “Song to Woody” for his hero Woody Guthrie; his first encounter with Baez at Gerde’s Folk City in 1961; the visible joy of Pete Seeger (played by Edward Norton) as Dylan performs “The Times They Are A-Changin’” at Newport in 1963; and the rapt attention of Seeger’s children as Dylan sings one morning in their family home. These scenes may play footloose and fancy-free with historical fact, but they brim with atmospheric splendor.

“A Complete Unknown” — co-written by Mangold and screenwriter Jay Cocks, and based on Elijah Wald’s book “Dylan Goes Electric!” — follows Dylan from his arrival in Greenwich Village in 1961 to his seismic performance at the Newport Folk Festival in 1965. The latter, replete with a braying crowd and hostile projectiles, acts as the film’s explosive finale, as Dylan rejects the straitjacket of traditional acoustic folk in favor of electric experimentation.

Monica Barbaro and Timothee Chalamet in ‘A Complete Unknown.’ (Supplied)‘A Complete Unknown’

Chalamet captivates as Dylan, capturing the singer-songwriter’s nonchalance and charisma, although the artist himself remains mostly a mystery. Sure, we see his ruffled hair, his quirky mannerisms, and his love of cigarettes, and Chalamet nails his distinctive, raspy, grittily raw voice, but Dylan the man is as doggedly elusive as ever. Outside of the musical set pieces, the songwriting, and a few intimate moments with Baez and his long-suffering girlfriend Sylvie (Elle Fanning, playing Dylan’s real-life partner Suze Rotolo), what remains is a moody, mumbling, and largely unpleasant artist grappling with the burden of celebrity.

That said, the movie’s faithful recreation of Greenwich Village and the New York folk scene of the early 1960s, its supporting performances — especially Norton’s Seeger and Barbaro’s Baez, and the addictive nature of the soundtrack not only make this a tribute to Dylan’s enduring influence, both as an artist and as a cultural icon, but a beautifully rendered period piece.


Ustad Amjad Ali Khan to enthrall audience with sarod recital in Riyadh

Ustad Amjad Ali Khan to enthrall audience with sarod recital in Riyadh
Updated 30 January 2025
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Ustad Amjad Ali Khan to enthrall audience with sarod recital in Riyadh

Ustad Amjad Ali Khan to enthrall audience with sarod recital in Riyadh
  • Ambassador of India Dr. Suhel Ajaz Khan: The Embassy is honored to co-host the upcoming Sarod quintet concert by the legendary musician Amjad Ali Khan in Riyadh
  • Dr. Suhel Ajaz Khan: The strong interest among Saudi friends toward this concert is a testimony to the popularity of Indian music, arts and cinema in the Kingdom

RIYADH: The internationally acclaimed sarod maestro Ustad Amjad Ali Khan will give a virtuoso performance of the stringed instrument at the Cultural Palace, Diplomatic Quarter in Riyadh on Feb. 6, 2025.

The Embassy of India, in collaboration with the Diplomatic Quarter Office at the Royal Commission for Riyadh City, is organizing the musical performance of “Three Generations, One Melody,” featuring the renowned Indian sarod quintet led by the acclaimed composer Amjad Ali Khan.

Ambassador of India Dr. Suhel Ajaz Khan told Arab News: “The Embassy is honored to co-host the upcoming Sarod quintet concert by the legendary musician Amjad Ali Khan in Riyadh. This unique musical performance being organized for the first time in Saudi Arabia is going to showcase the richness of Indian classical music.”

“The strong interest among Saudi friends toward this concert is a testimony to the popularity of Indian music, arts and cinema in the Kingdom that has only become more profound in recent years,” he said.

A few months ago, Indian artists and cultural troupes performed at the ten-day Indian cultural festival at Suwaidi Park in Riyadh under the Global Harmony Initiative of the Saudi government, he said.

“The event was hugely popular among the Saudi guests. Indian art and music always had a huge fan base in Saudi Arabia, and we are happy to see our Saudi friends showing great interest in attending Indian cultural events. This not only shows the strength of our people-to-people ties, but also the immense potential of cultural exchanges between the two countries.”

Speaking to Arab News from India, Amjad Ali Khan said: “I feel very happy, highly honored, that I got the opportunity to perform in Riyadh, to regale the people of Saudi Arabia. I am grateful to the Indian Embassy in Riyadh who made it possible.

“We are invited to the Western world and get a lot of opportunities to perform. Recently the London Philharmonic Orchestra played my composition. I had a concert at the Royal Festival Hall of London.”

The sarod grand master joined the London Philharmonic Orchestra in a concert that spanned continents and cultures.

“A Saudi orchestra can also play my composition, ‘Samaagam,’ but it needs to be planned,” he said.

“To perform with your children and grandchildren is only possible with the blessing of the Almighty Allah, and the prayers of fans. I am lucky to perform with our three generations in the concert in Riyadh.”

The sarod grand master was born to a family steeped in Indian classical music and is regarded as one of the icons of the music world, bringing a new and yet timeless interpretation to the playing of the sarod.

The sarod is a fretless stringed instrument with a teak frame, a goatskin soundtable and a metal fingerboard, with six to eight strings as well as additional sympathetic strings. The instrument lends itself to improvization and graceful expression because of the ability of the musician to slide and glide between notes, much like a human voice.

His sons, Amaan Ali Bangash and Ayaan Ali Bangash, are virtuoso performers in their own right, and will accompany the sarod grand master at the concert in Riyadh.


‘The Seven Dogs,’ directed by ‘Bad Boys’ filmmakers, begins production in Riyadh

‘The Seven Dogs,’ directed by ‘Bad Boys’ filmmakers, begins production in Riyadh
Updated 30 January 2025
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‘The Seven Dogs,’ directed by ‘Bad Boys’ filmmakers, begins production in Riyadh

‘The Seven Dogs,’ directed by ‘Bad Boys’ filmmakers, begins production in Riyadh

DUBAI: “The Seven Dogs,” a groundbreaking film for Saudi Arabia starring Egyptian cinema icons Karim Abdel Aziz and Ahmed Ezz, has begun production in Riyadh.
The film is based on a story by Turki Al-Sheikh, Chairman of Saudi Arabia's General Entertainment Authority, with a screenplay by Mohamed El-Dabbah.

The project – directed by the internationally acclaimed duo Adil El Arbi and Bilall Fallah, known for their work on "Bad Boys for Life” – is making waves for its substantial budget, exceeding $40 million, making it the largest Arabic film production to date, according to Al-Sheikh.

Filming is taking place at the newly inaugurated Al-Hisn Big Time Studios in Saudi Arabia.

Al-Sheikh expressed his enthusiasm on social media, writing, “Today marks an important day in my career and in the history of cinema in my country and the Arab world. Today, filming began for ‘The Seven Dogs,’ a story by myself and the Big Time team, with a screenplay by Mohamed El-Dabbah."

This collaboration between Abdel Aziz and Ezz follows their previous successful projects, including “Kira & El Gin.”

The film's plot details remain under wraps, but the combination of a high-profile cast, experienced directors, and a significant production budget has generated considerable anticipation.


A love song to Palestine: ‘Thread Memory’ at Hayy Jameel in Jeddah 

A love song to Palestine: ‘Thread Memory’ at Hayy Jameel in Jeddah 
'Fatima Yousef Sewing a Palestinian thobe, Kobar-Ramallah, the 1970s' (1970s), courtesy of the Palestinian Museum
Updated 30 January 2025
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A love song to Palestine: ‘Thread Memory’ at Hayy Jameel in Jeddah 

A love song to Palestine: ‘Thread Memory’ at Hayy Jameel in Jeddah 
  • Curator Rachel Dedman discusses the show celebrating the ancient art of tatreez 

JEDDAH: In January, the exhibition “Thread Memory: Embroidery from Palestine” opened at Hayy Jameel in Jeddah. It explores the ancient Palestinian tradition of tatreez; intricate hand embroidery primarily undertaken by women. 

Tatreez — a slow, laborious and deliberate practice — is far more than just a decorative art form; it has come to be seen as a symbol of resilience, community and cultural pride. Amid the ongoing conflicts in Gaza and Lebanon, the exhibition celebrates Palestinian stories and creativity. 

On Jan. 23, the exhibition “Thread Memory: Embroidery from Palestine” opened at Hayy Jameel in Jeddah. (Supplied)

It is also, curator Rachel Dedman notes, “an opportunity for the Palestinian diaspora in Saudi — which is a huge community — to connect with their own heritage.” And there are, she adds, “really fertile connections to be made, interdisciplinarily, between (Palestinian) embroidery and embroidery from Saudi Arabia.”  

The exhibition, which runs until April 17, features more than 30 dresses and multiple accessories — pieces of jewelry, small dolls, a handkerchief, headdresses — plus more than 100 images from the Palestinian Museum. It also includes a display of smartphones showcasing real-time updates from Palestine.  

In partnership with the Palestinian Museum in Birzeit, “Thread Memory” draws from an extensive archive, emphasizing tatreez as a living art form which is deeply entwined within Palestinian life and tells the stories of generations of people and of shared resistance and hope amid the ongoing violence and threat of erasure. 

Rachel Dedman. (Supplied)

Dedman says there are probably as many tatreez variations as there are villages in Palestine. She views it as a way in which its female creators empower themselves, looking to the future when the present might seem unbearable. The dresses mark the milestones of a woman’s life.  

In times of displacement, often the women can only take with them the clothes on their back, so there are instances when a garment has been modified to fit different bodies.  

The exhibition is also full of textual information.  

“There’s beauty in (that), because this is a history that’s being actively erased — or that is under threat of erasure,” says Dedman. “So by offering up a lot of information, I hope maybe there’s some Palestinians in Jeddah who feel more connected to their own history or heritage, who feel seen, who feel represented, who feel able to come to a space and experience the grief that we’re all feeling, acknowledged in this beautiful way. 

Some of the dresses actually come from personal collections in Riyadh and Jeddah, Dedman explains. “There’s also a wonderful Syrian dress included; (these are) examples of how, in diaspora, these dresses continue to be deeply meaningful for those who own them,” Dedman explains. 

Handmade embroidered ties created by the Association for the Development of Palestinian Camps (INAASH)' (1973), (Courtesy of the Palestinian Museum)

While Dedman is not of Palestinian descent, she is an active and avid supporter of the Palestinian cause, and she sees tatreez is a profound reflection of Palestinian life, resilience and creativity. 

“Nobody who has — or practices — tatreez finds it trivial,” she says.  

Dedman — a London-based expert in Middle Eastern textiles, has dedicated over a decade to studying tatreez, starting in 2014 with her work for the Palestinian Museum in Birzeit, with whom she collaborated for this exhibition. Her previous exhibitions have highlighted tatreez as both an art and a tool of cultural preservation. In addition to her role as the Jameel Curator of Contemporary Art from the Middle East at London’s Victoria and Albert Museum, Dedman also lectures globally on the intersection of textiles, identity and politics. 

“I’m in this position of enormous privilege; I have the passports to travel between Lebanon and Palestine — no Lebanese or Palestinian can do so,” she explains. “And for me, it was really important to not just drop in and interview someone, but to try and forge relationships and bring them in as sort of members.”  

Her goal for the Jeddah exhibition is simple. “I’m always excited by the opportunity to bring Palestinian voices into a space. I hope it speaks to people,” she says. “For me, the dresses are almost punctuation amid the love song to Palestine that this exhibition is.” 


Elie Saab’s couture escapism finds a new edge in Paris

Elie Saab’s couture escapism finds a new edge in Paris
Updated 30 January 2025
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Elie Saab’s couture escapism finds a new edge in Paris

Elie Saab’s couture escapism finds a new edge in Paris

PARIS: The sounds of spring, with babbling brooks and birdsong, set a serene yet surreal tone Wednesday as Elie Saab unveiled his latest couture collection inside the soaring Palais de Tokyo in Paris.

It was punctuated only by whoops and clicking camera shutters as Eva Longoria swept in.

While the setting evoked pastoral bliss, the collection was a study in high-drama couture, as Saab’s signature opulence met a new architectural precision.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by ELIE SAAB (@eliesaabworld)

This season, the Lebanese designer, a red carpet mainstay, tempered his signature cascades of embroidery with an almost armor-like structure. Sweeping architectural flourishes curved around shoulders and hips, recalling the grandeur of Art Deco but with a modern sheen. Geometric bands of sparkles reinforced the sculptural intent, carving out silhouettes that felt more commanding than Saab’s typical fluid romance.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by ELIE SAAB (@eliesaabworld)

Models emerged on three parallel runways framed by classical white arches, wearing gowns dripping with jewels and embroidered feathers that echoed foliage. The effect was cinematic, an invitation into a world of 1920s glamour — Gatsby decadence reimagined with Saab’s unerring eye for fantasy. But in a world of uncertainty, the excess took on a different weight, a reminder that fashion has long been a glittering escape from reality.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by ELIE SAAB (@eliesaabworld)

Saab’s touchstone aesthetic — luxurious embellishment, silhouette-flattering cuts and red carpet allure — was intact, but there was an added sense of structure, a couture boldness that gave the collection its edge. The designer has never strayed far from his core of femininity and grandeur, yet here was a whisper of something stronger: a woman draped in fantasy, but armored for the future.

Saab was not the only Arab designer to present that day.

Lebanese designer-to-the-stars Zuhair Murad, whose country has been under Israeli bombardment, told AFP that his glamorous collection of long evening wear was inspired by the idea of a tropical island inhabited by goddess-like women.

“The message of this collection is about escaping from our hectic world. I imagined this beautiful island, far from the cities, far from technology, far from the world that we live in right now, a peaceful world,” he said.