‘A Thousand Blows’ — immersive period crime drama with star power
‘Peaky Blinders’ creator Steven Knight focuses on all-female crime gang in Disney+ show
Updated 4 min 18 sec ago
Adam Grundey
DUBAI: If you need someone to create a historical drama based on a real-life notorious crime gang, who better than “Peaky Blinders” showrunner Steven Knight? And if you need someone to play a shady operator vibrating with pent-up menace that threatens to explode into violence at any time, who better than the always-compelling Stephen Graham?
So Disney+’s “A Thousand Blows” has two huge pluses in its favor — great showrunner and great lead (or co-lead, to be fair). But that also means great expectations that can be tough to match.
The show is set in London’s East End in the 1880s and the notorious gang is the Forty Elephants — an all-female crime syndicate led by Mary Carr (played by Erin Doherty) whose main focus was shoplifting. Carr has close ties with Henry “Sugar” Goodson (Graham), self-styled king of the area’s popular-but-illegal bare-knuckle boxing scene, but their alliance is on shaky ground as her schemes threaten to bring unwanted attention from the police to the neighborhood.
Into their orbit comes Hezekiah Moscow (Malachi Kirby), newly arrived from Jamaica and in need of money. Moscow is a phenomenally gifted fighter, and the ageing Sugar quickly comes to see him as a threat to his fearsome reputation. Carr, meanwhile, sees him as both potential love interest and an asset she can exploit in her daring plot for a major heist. All three share a common goal: to rise above the low expectations society has of them.
Graham, impressively beefed up for the role, is customarily excellent as Sugar, a man whose behavior no-one — not the viewer and not even himself — can easily predict. Kirby is equally compelling, balancing confidence and vulnerability in his portrayal of a man sure of his own abilities, but unsure of those around him. And Doherty convinces as Carr — outwardly as tough as Sugar, but it’s clear that the façade of emotionlessness and ruthlessness that has made her such a respected and feared adversary is a hard one to maintain.
The story reels you in quickly. The East End of the late 19th century is brought vividly to life, and there’s plenty of action from the start, but the latter has perhaps come at the cost of character development. The rest of the Elephants, for example, feel one-dimensional (in the four hours we’ve seen so far, anyway), with little backstory to flesh them out. Still, “A Thousand Blows” is hugely enjoyable — though perhaps not for the squeamish; the violence is constant and realistic — and Graham once again shows he’s one of the finest actors of his generation.
Lebanese artist Lana Khayat discusses her first solo show in Saudi Arabia
‘I would like show how Arab heritage is evolving,’ says Lana Khayat
Updated 2 min 23 sec ago
Adam Grundey
DUBAI: Lebanese artist Lana Khayat is currently staging her first solo show in Saudi Arabia. “The White Lilies of Marrakech: Women as Timeless Narratives” runs at Riyadh’s Hafez Gallery until March 25, and is, according to the press release, an homage to the titular city’s Jardin Majorelle, which celebrates its centenary this year, “as well as Lana’s enduring narrative on the strength and resilience of women.”
Khayat says the exhibition also marks a significant step forward in her work, which blends influences from nature with abstraction and calligraphy.
“In this show, you will see a bolder look, a more confident me,” she tells Arab News. “Nature was always my main inspiration, but recently I’ve added another layer of botanical forms into my work, which will be seen for the first time in this show. An obvious example is the lily. The lily is an intrinsic part of my work; it was always present. But now it is taking center stage, so it becomes more apparent. The lily, which is the symbol of women… in my earlier works, it was very shy, but in my most recent work, you can see the lily taking the foreground — big and lush, and very present. I’m very shy. I’m a big introvert, but I’ve learned that, actually, the truer I am to my work, the more people relate to it. I think women are very strong, and their strength is very silent, but at the same time very commanding — and I definitely feel more confident in my work.
'Echoes of Ephemeral Whispers.' (Supplied)
“I even changed my signature,” she continues. “It has become more bold.”
The inspiration for the exhibition, as the name suggests, came when Khayat was visiting Marrakech.
“Marrakesh is a historical cultural crossroads; it embodies the fusion of tradition and modernity, which is essential to my work,” she says. “Its Berber and Arab and Andalusian influences make it the perfect backdrop to my work. And the theme of the show was born of out of my fascination with how women’s stories persist throughout time — through language, through culture, through nature. The lilies, for me, are women, standing strong. They’re there. They flourish. Lilies are among the strongest plants and flowers, and water lilies are present in the Jardin Majorelle. So it’s this interplay of my study of women, my study of lilies, and my study of languages, and I felt that Marrakesh is the perfect place to carry all of these meanings.”
'The Vermilion Lilies of Marrakech.' (Supplied)
Given her ancestry, it’s no surprise that Khayat became an artist. Her great grandfather, Mohamad Suleiman Khayat, was a famed restorer of lavish Syrian-style Ajami rooms whose work is in the Metropolitan Museum of Art, among other prestigious establishments. His son and grandson — Khayat’s father — followed in his footsteps.
“I was raised with this,” says Khayat. “From them, I learned patience. But it was male-dominated, so I had to forge a place for myself in this artistic lineage, which wasn’t easy, but I slowly found my voice.”
A large part of discovering that voice was moving to New York from Lebanon after completing her degree in design. “I remember in my childhood I was copying Van Gogh, you know? Vases and flowers… I had images of that in my head,” she says. “But after I was in New York, and I spent some time working at the Guggenheim, and then when I moved to Dubai, that’s when I actually had a bit of an internal struggle. ‘Should I keep (my art) to myself, or should I just show it and see where it will take me?’ And after some internal conflicts between me and myself, I thought, ‘There’s actually nothing to lose. Let’s just see where it takes me.’ And around 10 years ago, I was lucky to meet Qaswra (Hafez), the founder of Hafez gallery, who really believed in my work and supported it.”
'Between Bloom and Form.' (Supplied)
She loves Monet’s work, she says, but her main inspirations were other female artists — though not necessarily because of their art.
“It was more the artist’s journey and how they fought for that rather than the art itself,” she says. “For example, I love Frida Kahlo for her boldness.” A few days after our interview, she writes to add that Lebanese artist Etel Adnan’s work is also an inspiration, because “her fearless blending of disciplines — of poetry, landscape, and abstraction — encourages my own pursuit of art that honors resilience, transformation, and the enduring strength of women.”
In her twenties, Khayat was more influenced by Western art, “but now I appreciate Arab art more and more,” she says. “My work has multiple layers. It’s both personal and universal. It’s a celebration of my Arab heritage. Also, I use language in a very meditative way — the script I use, it’s a carrier of tradition and a testament to history. My work is also very abstract. The script I use dissolves into gestures and the nature that I’m inspired by morphs into fluid shapes. You know, Arab culture is vast and diverse, but in my work, I try to reinterpret it and show how it evolves; it’s not stagnant.”
Calligraphy is, she says, “a quiet dialogue between me and the painting, between the audience and the painting, and it’s open to interpretation. I would love for the viewer just to lose themselves in the painting and find the meaning where they want. And it’s a dialog also with history, because, as I said, I would like to reinterpret Arab heritage and show how it’s evolving.”
That last point is one of the things she most hopes audiences will take away from the Riyadh show. “I hope it feels intimate and universal for them, and I hope they see it as a celebration of script. I hope they see the abstraction I make in my work as an evolution of Arab heritage and I hope they see how, for me, nature is a witness to history,” she says. “And I hope they enjoy it.”
Dubai exhibition reflects on Syria’s post-Assad transition
In ‘6:18, The DAWN,’ eight artists explore the aftermath of a bloody civil war and a brutal regime
Updated 13 min 56 sec ago
Zeina Zbibo
DUBAI: From Feb. 9 to March 2, Atelier 14 in Dubai will host “6:18, The DAWN,” a powerful collective exhibition that delves into the cultural and artistic landscape of the Syrian Arabic Republic following the fall of the former president, Bashar Assad.
This exhibition features the works of eight talented artists, photographers, sculptors and painters, who collectively explore the complex aftermath of more than a decade of civil war.
“6:18, The DAWN” provides a poignant insight into how art can reflect the scars and hopes of a country in transition.
'Home' by Majd Henawi. (AN photo)
The exhibition is a platform for dialogue and reflection on the fragility of post-conflict societies and the struggle for identity. It is anchored in the tumultuous months following the fall of Assad’s regime and shows how, amid this chaos, art has remained an essential outlet for expression and renewal, charting the emotional and social evolution of a country now faced with the task of rebuilding both physically and spiritually, and depicting the tension between destruction and rebirth, chaos and renewal.
One of the show’s standout features is the work of renowned French-Syrian photographer Ammar Abd Rabbo, known for his emotionally charged and politically moving work. He presents three photographs that capture the significant shift in Syria’s political and cultural landscape. They were taken in Damascus in December, just after the regime’s sudden collapse, and each image a unique perspective on those moments of upheaval.
The first features two astronaut suits abandoned on a Damascus pavement.
A charcoal artwork by Mohannad Orabi. (Supplied)
“These suits were left after an incident where citizens tried to steal items from the president’s residence, symbolizing the desperation of a population grappling with the aftermath of years of oppression,” Abd Rabbo told Arab News on opening night. “The photo captures a surreal scene.”
The second shows a man holding the Syrian flag — a moment of both defiance and of hope for the future. The third depicts a group of people toppling a statue of Assad, a vivid representation of the collapse of the regime and the collective desire for a fresh start.
The work by the other seven artists in the show also point to the possibility of healing and reconstruction, without ignoring the horrors of the past. Through abstract forms, vivid color palettes, and intricate textures, the artists explore the emotional complexities of life in a post-conflict society — grappling with loss, rebuilding, and forging a new collective identity.
From Ammar Abd Rabbo's 'Damascus, December 2024' series. (Supplied)
Their diverse styles ensure that the exhibition offers a multifaceted view of Syria’s cultural evolution. It speaks to the varied experiences of individuals affected by the war, from those who witnessed the conflict first-hand to those abroad who have found creative ways to make sense of the country’s developments.
The exhibition also provides a vital opportunity for audiences to engage with the ongoing changes in Syria, offering an understanding of the personal and collective dimensions of war and recovery.
Art, as highlighted in “6:18, The DAWN,” serves not only as a form of healing but also as an essential medium for documenting history and inspiring hope.
Jeddah spans tradition and modernity in new book exploring themes of cultural preservation
Novel examines balance between cultural preservation and urban transformation
‘The cats of Jeddah serve as a metaphor for the city’s enduring spirit’
Updated 27 February 2025
Tamara Aboalsaud
RIYADH: While the falcon and camel are the creatures most associated with Arabia’s skies and deserts, cats have long captivated the hearts of the people, historically and religiously.
In his new novel, “City of Cats,” Rafael Hernandez de Santiago sets his narrative in Jeddah, Saudi Arabia, exploring where the past and future collide during urban transformation.
“City of Cats” follows Amir, an architect torn between the love he has for his city’s heritage and the push toward modernization. He and his allies face resistance from powerful, money-hungry developers as they propose a cultural park to protect one of Jeddah’s historic districts.
Hernandez draws the comparison that cats represent the soul of a city. Speaking to Arab News at his book launch hosted at the Spanish Embassy on Tuesday, he said: “The cats of Jeddah serve as a metaphor for the city’s enduring spirit, quietly witnessing and adapting to its ever-changing landscape.”
The novel delves into themes of preservation versus progress, communal unity, and resilience of tradition in the face of relentless modernization.
Hernandez is a director and senior researcher at the Gulf Research Center and a prominent newspaper columnist who regularly writes on matters relating to politics, international relations, and data and AI.
Of his reasons for delving into the world of fiction writing, Hernandez said, contrary to the straight edge of fact and policy analysis that his columns require, fiction allows for a more interactive curiosity on complex issues and more emotional engagement.
“Instead of debating urban development and cultural preservation through articles, I wanted readers to feel the impact of these changes through the eyes of characters living through them.”
The Spanish citizen, who has lived in Saudi Arabia for almost 25 years, said that from the ancient Nabatean city of AlUla to the rise of modern metropolises such as Riyadh, the Kingdom balances rich traditions and heritage stories with an ambitious vision for the future, making it a compelling setting for a novel.
“My time here has given me a deep appreciation for its history, traditions, and the unique identity of its cities.
“The experience of witnessing Jeddah’s evolution firsthand played a significant role in shaping the story of ‘City of Cats,’” he said.
Hernandez said that Jeddah is a city where history and modernity coexist side by side. Al-Balad, its historic district, carries stories of merchants, travelers, and families through the generations, who give it a distinct identity. Yet it is constantly evolving, with new skyscrapers and developments.
“While Spain has its own rich history and cities undergoing similar transformations, Jeddah’s story feels particularly urgent. It’s a city at a crossroads, and I wanted to capture that moment.”
Hernandez spoke about how Jeddah acting as Makkah’s gateway gives it a unique character. And that characteristic furnishings, from coral stone houses to intricate mashrabiya windows, reflect the story of the Red Sea and its maritime trade routes.
Contrary to Jeddah’s openness and free-flowing nature, Riyadh’s soul mirrors that of a wise and progressive leader who still stands strong in his structure and heritage, according to Hernandez.
“Like the stray cats that roam both cities, their souls are defined by their ability to survive, adapt, and persist despite the changes around them,” he said.
“City of Cats” is available in English, with Arabic and Spanish translations expected to follow.
Hernandez hopes to turn the novel into a musical one day, as the arts and entertainment scene in the Kingdom rapidly grows.
“The story lends itself beautifully to the format … Musicals are a celebration of storytelling, culture, and emotion — and Saudi Arabia is overflowing with stories and traditions waiting to be expressed in new, creative ways.”
He said that if Saudi Arabia were to start producing musicals, it would open the door for local talent; composers, lyricists, set designers, and actors who are eager to share their creativity with the world.
‘Souk Wonders’ to give final performances as show nears end
Ghada Sheri: ‘We have been doing it for a month now and we have done 33 shows and it’s been amazing’
Sheri: ‘I get to sing to people every day and see their reactions and I share the stage with amazing performers’
Updated 27 February 2025
Lama Alhamawi
RIYADH: Diriyah Season’s “Souk Wonders,” featuring trampolines, circus acrobatics, musical entertainment, balancing acts, and a variety of culinary experiences will come to a close on Friday.
“We have been doing it for a month now and we have done 33 shows and it’s been amazing — honestly, I love it here and I am really sad for it to be over,” Ghada Sheri, a singer and songwriter, told Arab News.
“I get to sing to people every day and see their reactions and I share the stage with amazing performers as well so that has been amazing,” she said.
“Souk Wonders” features traditional Najdi architecture, tents, a majlis, and an oversized marketplace scale that spins as guests are seated on it.
The performances kick off with a daring show featuring performers jumping off the edges of the traditional Najdi structures towards the crowd and onto a trampoline.
The routines come back-to-back, leaving audience members anticipating which way to turn next.
Carina Pires, a nurse from Portugal, has lived in the Kingdom for 12 years, and attended “Souk Wonders” with her friends.
“It’s been amazing. We have just been mesmerized. We don’t know where to look, it’s been so many things with so many emotions, it’s really good,” Pires told Arab News.
“It was amazing, I have been experiencing things here that I didn’t in my country,” she added.
When asked what her favorite part of the show was, Pires said: “Everything was amazing, I cannot point to one, it was everything.”
A unique feature of “Souk Wonders” is the currency. Although real money can be used, visitors are taken back in time as they are presented with gold Diriyah Season coins to make their purchases.
For example, a water bottle would cost guests 1 coin, with each coin valued at SR5 ($1.33). A regular ticket gives visitors 18 coins, and the platinum ticket allows for 24.
Along with live performances, “Souk Wonders” has restaurant and cafe booths that feature unique dishes that pay tribute to traditional flavors with modern-day twists all crafted by Saudi chefs especially brought in to design the menu for the event.
Saudi chef Samira Jan was the mind behind the Sand of Zaatar booth, featuring flavors from the Levant region, including a Palestinian musakhan tart as well as a sweet Syrian basbousa tart.
Other Saudi-crafted creations included soft drinks and mixed mocktails at Al Bar booth.
One unique feature of “Souk Wonders” is the interactive performances from the actors of the who remained in character throughout whilst interacting with guests.
“Souk Wonders” will put on its final shows on Feb. 28 at 7:45 p.m. to 9:45 p.m. and then at 10:45 p.m. to 12:45 a.m. in Venue before coming to a close for Ramadan.
Saudi contemporary artist Manal AlDowayan discusses collaborative performance piece
Updated 27 February 2025
Nada Alturki
RIYADH: Saudi contemporary artist Manal AlDowayan unveiled her latest work, “Thikra: Night of Remembering” at the AlUla Arts Festival in late January.
The site-specific dance piece, designed by AlDowayan in collaboration with renowned English dancer and choreographer Akram Khan — who is of Bangladeshi descent — and residents and artisans from AlUla, was one of the festival’s main highlights. It will now go on to be adapted for various theaters around the world.
The dance pays homage to the long line of civilizations that have inhabited the land around AlUla over centuries. (Supplied)
AlDowayan told Arab News: “The fact that it’s a fictional story, not tied to a specific time or civilization — it could be none or all at once — makes it something people can easily connect with. There’s a mix of cultures, stories, symbols, and rhythms. Of course, the AlUla landscape had a big influence, along with the collaboration with local musicians, dance elements, crafts, and symbols, but there are also essential elements from other cultures around the world, especially traditional Indian dance reimagined through Akram’s performance, and sound elements from various cultures and even from nature.”
Over the past few years, AlDowayan has gravitated towards exploring the idea of “othering” in her practice. As she has become more well-known internationally, she says, she’s looking to open up conversations to bridge cultures.
And she is no stranger to responding to AlUla’s landscape in her work: she’s showcased in the historic city as part of Desert X with her artwork “Now You See Me, Now You Don’t,” and staged a show titled “Their Love is Like All Loves, Their Death is Like All Deaths,” and a participatory exhibition titled “Oasis of Stories: Manal AlDowayan and the People of AlUla” with over 1,000 community participants for Wadi AlFann.
“Thikra” was inspired by, among other things, AlDowayan’s memories of gathering around a campfire under the starlit sky to tell stories. The performance took place on a circular stage between cliffs.
“Thikra” was inspired by, among other things, Manal AlDowayan’s memories of gathering around a campfire under the starlit sky to tell stories. (Supplied)
“The audience sits around on traditional Sadu weaving carpets, occupying one half of the circle, while the community occupies the other. In the center, the dancers perform a story about ancestral knowledge,” AlDowayan said.
The dance pays homage to the long line of civilizations that have inhabited the land around AlUla over centuries, as evidenced by the symbols engraved on rock formations and its varied architecture.
“I incorporated some of these symbols into the costumes and props to represent the overlapping of different timeframes and the coexistence of rituals and traditions,” AlDowayan explained.
She based the color pallet of the fabric on the tones of the surrounding landscape and culture; the sandy beige, the red-brown of henna, the pink rocks, night black, and the green of small plants that “emerge between the sand, almost as an act of resistance,” she said.
AlDowayan worked with the Madrasat Addeera School of Arts and Crafts to produce local, natural pigments for the fabric, adding to her longstanding tradition of collaborating with local artisans.
The collaboration with Madrasat Addeera had two main aspects: design and fabrication.
The site-specific dance piece was designed by Manal AlDowayan in collaboration with renowned English dancer and choreographer Akram Khan. (Supplied)
In a participatory workshop with the students, she presented her vision for the visual direction, portrayals of different characters, and her incorporation of local symbology and storytelling in the project. She was also keen to represent the community directly on stage through their designs.
She said: “I encouraged them to work with these symbols — ones deeply present in their daily lives and crafts — and together we brainstormed the designs. Their input and self-representation was an essential aspect to me.
“They created more than 50 flag designs, incorporating traditional techniques such as palm weaving, Sadu, embroidery, and clay. The results were incredibly creative and beautiful. I selected a set of designs and slightly reworked them to fit the overall vision.”
Her studio then commissioned the school to make the flags. “Many of the school’s studios and senior crafters worked together to bring them to life,” AlDowayan said. “I am honored to bring to the global stage not only local stories, but also their own traditional crafts.” Members of the community then paraded these flags as part of the performance.
AlDowayan described working with Khan as a “gift,” saying: “I have followed and admired his work for a long time. So when I received the invitation to collaborate with him, I was thrilled — but I also wondered how open the creative process would be.
“From our first research visit to AlUla, the creative connection between us was instant. We immediately understood each other’s vision and actively collaborated on all aspects of the performance with openness and trust, I think because we both admire each other’s work.”
Forty local participants of all ages volunteered via open call to work with Khan’s legacy team Jumana Al-Refai and Bilal Allaf, who led community movement workshops. They eventually became part of the performance.
The narrative of the show is “based on the idea that without a past, there is no future. It’s a call for remembrance, told through the story of a community of women and how they preserve and pass down ancestral knowledge,” AlDowayan said. “This is something I first realized during my early visits to AlUla. My education ignored the ancient civilizations of this region, and when these historical sites were finally opened to the public, I was suddenly exposed to all this knowledge through the architecture and rock inscriptions. It was incredibly inspiring to learn that we have deep roots and to discover the traditions, symbols, and way of life of those who came before us.”
