Jumeirah | December 2016

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Spotlight on cinema The pioneers of local filmmaking

To be fare

Emirati food for all

Abaya couture

Regional style goes global

MADE IN THE UAE SPECIAL EDITION TO CELEBRATE THE OPENING OF JUMEIRAH AL NASEEM

Our quest for perfection.

Senator Excellence

Image: Farooq Salik

december 2016

Jumeirah Magazine

Jumeirah Corporate Office, Al Sufouh Rd, PO Box 73137, Dubai, UAE, Tel: +971 4 366 5000, Fax: +971 4 366 5001.

Website: www.jumeirah.com Jumeirah is a trading name of Jumeirah International LLC. A Limited Liability company.

Registration Number 57869.

Share Capital Dhs 300,000 fully paid up.

Jumeirah International LLC its affiliates, parent companies and subsidiaries (“Jumeirah Group”) and the publishers regret that they cannot accept liability for errors or omissions contained in this publication for whatever reason, however caused. The opinions and views contained in this publication are not necessarily those of Jumeirah Group or of the publishers. Readers are advised to solicit advice before acting on the information contained in this publication which is provided for general use and may not be appropriate for the readers’ particular circumstances. Jumeirah Group and the publishers take no responsibilty for the goods and services advertised. All materials are protected by copyright.

All rights are reserved. No part of this publication may be reproduced in any material form (Including photocopying or storage in any medium by electronic means) without the written permission of the copyright owner, except as may be permitted by applicable laws.

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Editor-in-Chief

Obaid Humaid Al Tayer Managing Partner & Group Editor

lan Fairservice Editorial Director

Gina Johnson Group Editor

Sophia Serin Art Director

Karen Evans Acting Editor

Tahira Yaqoob tahira.yaqoob@motivate.ae Picture Editor

Diana Bell-Heather

Contents

Contributors

Claire Hill, John Hiscock, Alex Lane, Helena Frith Powell, Conor Purcell, Gareth Rees, Ryan Young

Monitor

Publisher – Luxury & Lifestyle

Negar Ghodstinat negar@motivate.ae

Essential news and previews

General Manager – Production

S Sunil Kumar

16 A new chapter Welcome to our special issue celebrating all things UAE

Production Manager

R Murali Krishnan Production Supervisor

Venita Pinto

Chief Commercial Officer

Anthony Milne

Group Sales Manager

Ziad Saleh ziad@motivate.ae For Jumeirah

Charlie Taylor

Head Office: Media One Tower, Dubai Media City, PO Box 2331, Dubai UAE, Tel: +971 4 427 3000, E-mail: motivate@motivate.ae Dubai Media City: Office 508, 5th Floor, Building 8, Dubai, UAE, Tel: +971 4 390 3550, Fax: +971 4 390 4845 Abu Dhabi: PO Box 43072, UAE, Tel: +971 2 677 2005, Fax: +971 2 677 0124, E-mail: editor-wo@motivate.ae London: Acre House, 11/15 William Road, London NW1 3ER, UK, E-mail: motivateuk@motivate.ae Printed by Emirates Printing Press, Dubai

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20 Rocket Man The chart-topping singer-songwriter Elton John comes to Dubai

Featured 23 Big screen dreams Emirati filmmakers talk about the challenges of building an industry 32 Painting the way The burgeoning art scene tells a different story about the UAE’s growth 36 Taking the lead The Daughters of the Emirates collective is launching community projects

CALIBER RM 07-01

december 2016

Contents 46

Lifestyle 38 The insiders’ guide to…Emirati life We talk to young UAE residents about their memories, influences and aspirations 46 Cut from a different cloth The hijabistas are reinventing the traditional abaya with fresh designs 54 Breezing into Dubai Take the first sneak peek into the new Jumeirah Al Naseem hotel 60 There’s no taste like home Food writer Shaikha Al Ali yearns for a taste of homebaked nostalgia

Travel 64 Homegrown talent Dubai’s arts hub is being transformed with homegrown creative spaces 70 On the road Seasoned traveller Peyman Al Awadhi introduces flashpacking on a new platform 74 Futuristic city The Museum of the Future encapsulates the new phase in Dubai’s development 78 Featured spaces Tour an ocean suite in Jumeirah Al Naseem

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82 The high life Nathan Outlaw at Al Mahara, Burj Al Arab Jumeirah, Dubai

Sheikh Mohammed bin Rashid Al Maktoum, the Ruler of Dubai

Dubai Opera

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D3 design district

welcome Dubai metro

Burj Khalifa in Downtown Dubai

a new chapter as the new Jumeirah al naseem hotel opens, its general manager richard alexander reflects on the evolution of a nation over a remarkable 45 years I’m delighted to have been invited to contribute to this special edition of Jumeirah. Why is it special? Because every article highlights a different part of contemporary UAE culture and more specifically shines a light on the creative community of Emirati artists, filmmakers, fashion designers, chefs and artisans who are playing a key role in the continual transformation of our city.

The UAE in 2016 is light years away from the place to which I first arrived in 2001.

At that time Dubai was in the midst of a construction boom, the focus being on creating the footprint of a global city, attracting headlines relating to the creation of new landmarks and buildings – the hardware of a metropolis.

Today, the energy I felt 15 years ago is ever more tangible but instead of primarily galvanising hardware, it has conjured a society of inspiring artists, creators and designers – the architects of the software of today’s Dubai, whom we are celebrating in this special issue

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Dubai world cup

Jumeirah mosque, Dubai

We open the doors of Jumeirah Al Naseem, the final chapter of Madinat Jumeirah, on December 1 – in fact, by the time you read this, our first guests may have arrived. The hotel is a marriage of the hardware and software I have mentioned – a contemporary architectural twist on its sister properties within the Arabian resort of Dubai that takes the guest on a journey of discovery through the modern culture of our city.

Both in the interior and exterior design and in the creation of the guest experience, we have been led by our concept of ‘al bayt baitak’, a local Arabic phrase meaning ‘my home is your home’ . Art pieces by Emirati artist Mattar bin Lahej greet our guests on arrival, including his stainless steel interpretation of a poem by the Ruler of Dubai, Sheikh Mohammed bin Rashid Al Maktoum. Abayas worn by some of our colleagues have been created by fashion designer Slouchy’z. The decor of the rooms represents the Bedouin traditions and pearl diving heritage of the UAE while our bars and restaurants each highlight different elements of our present-day culture, themselves inspired by the heritage of the Arabic explorer. Even the turn-down chocolates are the work of homegrown Dubai brands.

There is much more to come. Over the course of Jumeirah Al Naseem’s first year, we will regularly delight our guests with experiences that bring features of contemporary Dubai into the hotel. For now, I invite you to discover more about this vibrant, energetic, creative and constantly surprising society: this special issue of Jumeirah is a celebration of our home.

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Masdar City

welcome

Dubai Mall

Madinat Jumeirah

Gold-winning Paralympian Mohammad Al Hammadi

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Image: Getty

UAE NATIONAL DAY Anyone visiting the UAE in December will have witnessed the ubiquity of the red, green, white and black of the UAE flag – draped from every public building, home and plastered across cars throughout the country – which bears witness to the great pride Emiratis take in their nation. December 2 marks National Day and this year, Emiratis, expatriates and tourists will join together to celebrate the 45th anniversary of the founding of the UAE. Celebrations are not confined to flag-waving. In Abu Dhabi, thousands of cars traditionally gather on the Corniche, where a fireworks display takes place at night. In Dubai, there is a carnival in City Walk, Jumeirah, at 4pm before the sky is lit up with fireworks at sunset on the seafront near Jumeirah Beach Residence. The night ends with a host of concerts in Mirdif City Centre, Dubai Festival City, Dubai Mall, City Walk, Mall of the Emirates and Jumeirah beach, including a set by Dutch DJ Tiesto in Dubai World Trade Centre.

UAE National Day celebrations, various locations across the UAE. uaenationalday.ae

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monitor

ALL THE WORLD’S A STAGE With its paradoxical name, Global Village is the epitome of multicultural Dubai. Now in its 20th annual season, it is part funfair, part theatrical show and part global marketplace. Global Village celebrates the cultures, crafts and cuisines of more than 75 countries, with 30 pavilions housing stalls representing countries in the Middle and Far East, Europe, Africa, the Americas and South Asia.

This season there are more than 12,000 events over five months, including circus acts, stunt shows, fireworks displays, performances by street artists and showcases of folk dances such as the Arabic dabke, the Afghani attan, the Yemeni dagger dance and the Emirati yola, a traditional battlefield dance with sticks, swords and rifles.

Every Friday during the winter months, there will be a concert performed by a regional star. The line-up includes Indian singers Mika Singh and Sunidhi Chauhan, Bollywood singer Atif Aslam, Algerian singer Cheb Khaled, Jordanian singer Omar Al Abdillat and Palestinian Arab Idol winner Mohammed Assaf.

Images: Getty

Global Village, Sheikh Mohammad bin Zayed road, Dubailand, Dubai. Open daily until April 8, 2017. globalvillage.ae

ROCKET MAN

Images: Courtesy of Global Village

One of the bestselling musicians in the world, Sir Elton John will be coming to Dubai in a show which promises to be one of a kind.

It is the only Middle Eastern stop in a worldwide tour, which takes in Europe and the US in a gruelling schedule running through to July next year, when Sir Elton will have turned 70. But the pop icon, known for hits like Tiny Dancer, Crocodile Rock and Candle in the Wind, shows no signs of slowing down and is expected to pack the 21,000-capacity Autism Rocks Arena in Dubai for his Wonderful Crazy Night show on December 15.

With 56 top 40 singles in the US charts – a record surpassed only

by Elvis Presley – the British singer-songwriter is one of the most successful pop stars of all time. During a career that has spanned nearly five decades, Sir Elton has played nearly 4,000 concerts in more than 80 countries, released 38 gold and 31 platinum or multiplatinum albums, won three Oscars, five Grammy awards, a Tony and sold more than 250 million records. The Rocket Man is touring his 33rd studio album, his third collaboration with producer T Bone Burnett and will be joined by his band, who also performed on the album.

Elton John, December 15, Autism Rocks Arena, Dubai. 117live.com

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MAXIMILIAN LONDON BOUTIQUE Jumeirah Zabeel Saray Hotel, The Palm Jumeirah UAE, Dubai, P.O. Box 29792 +971 50 919 63 66 +44 77 95 888 888 www.maximilianjewelry.com

MAXIMILIAN LONDON BOUTIQUE

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cover story

Photography: Farooq Salik; Photography Assistant: Jade Wills; Stylist: Carmel Gill; Hair and Makeup: Sarah Damichi; Coordinator: Diana Bell-Heather

Nayla Al Khaja

big sCreen dreams The burgeoning Emirati film industry is already grabbing attention around the globe – but success has not come easily. Conor Purcell talks to the UAE’s key filmmakers about why they got behind the camera and the challenges of developing their craft

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Ali Mostafa

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cover story Left to right: Nayla Al Khaja, Aisha Alzaabi, Ali Mostafa, Majid Al Ansari and Ali bin Matar

he legendary film director Elia Kazan once described directors as people on the edge. “A film director has to get a shot, no matter what he does. We’re desperate people,” he famously said. It is the great irony of movie-making. All the beauty ends up on screen but the struggle to create the art remains unseen. And of all the roles in the film industry, the most difficult is surely the director’s. It is reassuring, then, to see how many Emiratis have taken to the role – particularly since the idea of an Emirati film industry might have seemed absurd even a few years ago. Before the turn of the century, there was almost no infrastructure for aspiring filmmakers. Being an Emirati director would have been as unimaginable as being an astronaut.

Yet as the Dubai International Film Festival (DIFF) prepares to roll out the red carpet in the Madinat Jumeirah for the 13th year for a list of Hollywood A-listers and regional celebrities, it heralds a remarkable transformation for an industry which was non-existent just three decades ago.

There were films being made, of course, usually low-budget short films relying on local and regional film festivals for support. These days, Emirati films

such as Zinzana (2015) and Djinn (2013) offer Hollywood production values and can stand on their own merits: Zinzana, for example, is a taut thriller that revels in its psychosis and reveals its director Majid Al Ansari to be an expert at getting the best out of his actors, using a single set to heighten the drama.

Another milestone movie is City of Life, the first Emirati film to be given a general release in UAE cinemas in 2010. Directed by Ali Mostafa, it tackled subjects never-before-seen in an Emirati film such as gang and youth culture and some of the harsher realities of life in Dubai. As the country’s directors have become more experienced, the stories they are telling are evolving and becoming increasingly sophisticated.

Yet for an Emirati growing up in the 1980s, there were no local filmmakers to look up to. Indeed, the first Emirati feature film - an Arabic language film called Abr Sabeel by Ali Al Abdul - only dates back to 1989 and was not followed until 2005 by Al Hilm, or The Dream, the first commercially released film, showing just how nascent the film industry is in the UAE. By contrast, the first Egyptian feature film, Layla, was made in 1927. DIFF was set up in

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Majid Al Ansari

2004, giving local filmmakers a platform and something to aim for. Before that, the only option was the Emirates Film Competition, launched in 2001 to give filmmakers a platform for their short movies but attracting audiences of just 40 people. Yet it only took another seven years before Image Nation Abu Dhabi was created in 2008 with the aim of supporting local and international film productions. So far it has helped make nearly 30 films and documentaries.

Dubai has featured in many Hollywood blockbusters, from Tom Cruise swinging from the top of the Burj Khalifa in Mission: Impossible – Ghost Protocol to the 2005 hit Syriana. The emirate boasts world-class facilities in Dubai Studio City with some of the biggest and best-equipped soundstages on the planet, rivalling those in Hollywood, which have already been used as a backdrop for Chinese and Bollywood blockbusters. But being a glorified soundstage for Hollywood and Bollywood is a far cry from developing a sustainable, quality film industry that allows local directors, writers and producers to find their voices and an outlet for their work. Making a movie is a complex task, with even the goal of securing funding an exercise in plate-spinning. Most of the scripts sold in Hollywood never get made and given the sheer number of elements that go into getting a film finished, it is a wonder any get made at all.

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You can look east to South Korea to see how a relatively small country has built up a world-class film industry in less than 30 years. Al Ansari, 28, is a fan. “They have done amazingly well over there and there is no reason why we could not do something similar. We have talent here and we can do what they did but they had support from government and from private enterprise.”

The lack of a UAE film history is a double-edged sword: filmmakers working today have little to aim for but there is little expectation among local audiences. They are not expecting a certain genre or style, which frees up Emirati directors to produce the type of films they want. From City of Life to Zinzana to Djinn, there is no overarching style and each film lives or dies on its own merits. Nor is there an Emiratisation of cinema. Audiences are not too bothered about who is behind the camera, they just want to be entertained.

Indeed, the industry is so new that often directors struggle to find crew members locally. Abdulla Al Kaabi, 30, who will see his debut feature film, Only Men Go to The Grave, premiere at DIFF this month, says: “In the past seven years I have always had to work abroad because everyone here wants to be a director but a director is nothing without their crew.” Mostafa, 35, whose movie City of Life paved the way for the current crop of local films, is beginning to garner some international attention after premiering his third feature

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Aisha Alzaabi

film, the Worthy, at the London Film Festival in September. He thinks it is too early to judge the scene just yet. “We say industry in conversation to simplify but we are not an industry yet. We are a very positive movement toward an industry. Once you go to the cinema and at least 30 to 40 per cent of the films are our own - and those films are able to do well enough to enable the creator to make more - only then can we begin to call it a real industry,” he says.

Mostafa and Al Ansari are currently executive producers on a film directed

by Freej creator, 38-year-old Mohammed Saeed Harib. It is this type of collaboration that could well usher in the next wave of local cinema.

“Collaboration is key. Making a film is not an individual act,” says Al Ansari. Al Kaabi agrees: “Four hundred people worked on Only Men Go to The Grave. I wrote the film in Spain, shot it in Iran, post-production work was done in Iraq and the music came from India, so it was a collaborative and global project.”

Many of the directors are a tight-knit group. Al Ansari looks to Mostafa as “an older brother” and says it was after bringing his parents to see City of Life that they accepted it was possible for him to become a filmmaker.

“They did not understand why I wanted to be a filmmaker. There seemed

to be no future or money in it. I brought them to see City of Life at the cinema and then they understood. They saw it was possible to be Emirati and make a film,” he says.

For Al Ansari, his first years in an Emirati company were ones of hard slog.

Being local did not make a jot of difference. “When I started at Image Nation, I made coffee and photocopies for about six months. You have to be willing to work 15 or 16 hours a day, to be yelled at, to do the work no one else wants to do. About 95 per cent of the people I went to film school with dropped out of the industry. That is the reality and it does not matter if you are Emirati or not,” he says. That is echoed by Al Kaabi. “You have to read all the time, you have to be part artist, part poet, part photographer. You have to understand architecture and dance, you have to travel. What is a director but a storyteller? It does not matter if you know how to work a camera, the most important thing is that you know how to tell a story.”

One of the most prolific and experienced artists in the UAE is Nujoom Alghanem, 54. A poet, screenwriter and director, she has seen the growth of the industry firsthand. For Alghanem, there is plenty more to do: “We need to take filmmaking seriously,” she says. “People who want to join this industry have to be well trained and educated. They should be serious about

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Ali bin Matar

going to film schools and be in the right environment to gain experience and knowledge.”

Despite Mostafa only being 35, he is seen as something of an elder statesman of the scene. “I get asked for advice all the time. The main question is: ‘How do you take that jump from a secure job to becoming a filmmaker? Is it sustainable?’ My answer is always that you have got to be a little crazy to take that leap. It is obviously not sustainable as security since there is always a risk to what comes next. But ultimately I give them my three Ps: first and foremost is passion. Second is patience and the most important is perseverance. Stick to the nine-to-five [job] if you do not have those.” It is a common - and universal - theme: making movies is hard, often thankless work and if you are not willing to put in the hours at the start, you will never suc-

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ceed. Once success comes, which, in the incredibly difficult world of filmmaking, is just getting something - anything - made, local directors are lavished with unquestioning praise, a situation which is not always healthy for the directors or the critics.

“It would be good for Emirati filmmakers to be released from the duty of being an Emirati filmmaker,” says Butheina Kazim, who set up her pop-up cinema, Cinema Akil, in Dubai’s Alserkal Avenue in 2014. Like Nayla Al Khaja's Scene Club, it offered the opportunity to see offbeat films at regular screenings. For Kazim, Dubai born and bred, it was the lack of independent film options that motivated her to set up her arthouse venue. “I think exciting things can happen then. For instance, look at Majid Al Ansari’s film Zinzana, which is wonderful.” For Kazim, motivated by a lack of independ-

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Nujoom Alghanem

ent film options, it has proven popular and a bricks-and-mortar space is on the cards next year. “I believe there is a market for alternative cinema and I think we will prove wrong the assumption that people here do not like alternative cinema - but it is important to note that if you look at arthouse cinemas around the world, whether in the UK or in France, there is some government funding,” she says.

Money is also an issue when it comes to box office receipts and in truth, the local market is probably too small to sustain a film industry. “Sea Shadow and City of Life did not generate any profits for the producers, although they were well-received,” says Saoud Almulla, who co-founded the Emirates Film Competition. “Many people watched the films but they did not make any profit,” he has previously said. “Commercially they were not feasible.”

It is interesting to see how Emirati directors view the UAE: there is a sense of nostalgia for the UAE of the past with many of the films a nod toward childhood and innocence. “What is cinema but time travel?” says Al Kaabi.

“We are all nostalgic about our childhood. If you look at the current group of directors, their childhood took place in the 1980s and 1990s when Dubai was a very different place. We want to create a universe and bring the audience with us.”

And those audiences are growing: the most recent crop of Emirati films have done well globally, with positive reviews in American publications and plaudits at international film festivals. As the films get better and the storytelling more sophisticated, these are exciting times for the local industry. The next question is figuring out the odds on an Emirati Oscar winner in the next decade.

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ONES TO WATCH: EMIRATI FILMS SHOWING IN THIS YEAR’S DUBAI INTERNATIONAL FILM FESTIVAL

THE WORTHY ALI MOSTAFA Mostafa tackles his most ambitious project to date, a visually spectacular dystopian take on an Arab world torn apart by social disorder where the water supply has been poisoned and a group of survivors take refuge in an abandoned hangar

ANIMAL NAYLA AL KHAJA A seven-year-old experiences growing up in a home ruled with an iron fist by her ferocious and domineering father, a sociopath and narcissist. Together with a weak yet selfish mother and a flamboyant cook, she struggles to make sense of life

ONLY MEN GO TO THE GRAVE ABDULLA AL KAABI Al Kaabi follows his award-winning short The Philosopher starring Jean Reno with a tale of a family torn apart by long-buried secrets.

As a group of sisters start to question everything about their late mother’s life, tensions and deep-rooted guilt surfaces as they confront their own secrets

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HONEY RAIN AND DUST NUJOOM ALGHANEM The livelihood of three beekeepers depends on their search for natural honey in the remote mountains of Ras Al Khaimah, a northern emirate in the UAE. Alghanem brings the same poignant, gentle touch seen in her award-winning films Hamama and Nearby Sky

A NIGHT IN A TAXI AISHA ALZAABI A short non-fiction film documenting the moving tale of a taxi driver in Abu Dhabi who works night shifts. He lends his ears to troubled passengers yet when the time comes, he realises there are few willing to listen to his own story

KANADEER ALI BIN MATAR Abdullah discovers new information about his brother Salem, who mysteriously died a few weeks earlier and embarks on a quest to unravel strange details emerging about his life before he died

LITTLE SPARTA MANSOOR AL DHAHERI A feature film taking its name from the UAE’s armed forces, multiple award-winner Al Dhaheri, whose films have screened around the world, documents military operations from the battlefields of ancient Sparta to the role of Emirati forces in the ongoing battle against Islamic State in Syria and Iraq

MAMSOUS SHATHA MASOUD Short film from an upcoming filmmaker and former TV producer about struggles with anxiety and depression. She films three people who share their experiences of battling clinical depression and panic attacks

DUBAI INTERNATIONAL FILM FESTIvAL RUNS FROM DEcEMBER 7 TO 14 IN THE MADINAT JUMEIRAH. dubaifilmfest.com

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pAinTing ThE wAy

The UAE’s astonishing growth is well-documented – but a story less often told is the development of its art movement. Ryan Young reports

Emirati designer Zeinab Al Hashemi unveils installation in D3, Dubai Design District

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art

A

rt, the renowned curator Katerina Gregos once said, is “something of an unnecessary necessity”. “Imagine for a moment a world without art, without culture, without music, cinema, dance, opera, literature, poetry,” she told an audience at TedX talks. “That world would be a very dull place, devoid of imagination.”

It is a truth universally recognised that once basic human needs are catered for, once infrastructure is in place and there are schools, hospitals, homes and businesses to cater to every need for survival, it is followed by a hunger to feed the soul. While the UAE’s exponential growth from the desert led the way, it left a vacuum for those wanting to articulate what was happening within its boundaries in a different way and to engage with the world in a cultural dialogue. The Emirati art scene has been slower to establish itself than the UAE’s skyscraper-filled skyline – but it tells just as important a story about its development.

The number of artists are soaring from a few brave creatives operating in 1970s isolation to a boom of talent, which has multiplied considerably in reach and scope over the past two decades. Among those who have witnessed this rapid cultural explosion is the celebrated Emirati painter, sculptor and photographer Mattar bin Lahej, whose specially commissioned sculptures and artwork can be seen in the lobby of the new Jumeirah Al Naseem hotel.

Born in 1968, Bin Lahej is considered a key figure in the second generation of Emirati artists, who followed in the footsteps of the late Hassan Sharif, the great pioneer affectionately known as the father of the country's contemporary art scene before his death in September.

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“When I began, it was difficult for artists to live and for people around you to understand what you were doing,” says Bin Lahej, 48. Much of the seismic change has taken place in little over a decade. A growing audience for art took root following the establishment of Art Dubai, the annual fair which celebrated a landmark 10th edition earlier this year and returns to Madinat Jumeirah in March next year. Last month also saw the eighth edition of Abu Dhabi Art in the neighbouring emirate. The growing appetite for art has been embodied in the rapid development of Alserkal Avenue, a lively arts hub in an industrial area, which has grown from just a cluster of five galleries in 2010 to a hub of more than 70 warehouses filled with galleries and creative spaces. Meanwhile, an outlet for artists opened up in 2008 when the highprofile Emirati artist Lateefa bint Maktoum founded the Dubai-based contemporary arts organisation Tashkeel. The initiative supports local artists by offering residencies, workshops and international fellowships as well as programming events and exhibitions.

In parallel, Dubai has been developing as an epicentre of design and nurturing homegrown designers with the opening last year of Dubai Design District (D3) and regular showcases of creations in two annual fairs, Dubai Design Week and Design Days Dubai. Earlier this year Bin Lahej was asked to curate the sixth edition of the annual Sikka art fair, which runs in conjunction with Art Dubai and takes over the city’s older neighbourhoods with public art, offering crucial exposure to Emirati artists. “It was like we were in a dark room and somebody opened the window,” says Bin Lahej. “I said: 'Why are you here now? I have been here 20 years and nobody saw me.’”

In recent years, the growing ranks of homegrown talent have formed a unified scene in themed exhibitions like Emirati Expressions and Wings, which aim to showcase the breadth of local talent working across different mediums today. Meanwhile, a growing number of hotels have begun promoting the work of local artists by exhibiting it in public spaces. Bin Lahej says his work in the Jumeirah Al Naseem hotel, which includes an impressive 36fthigh sculpture called Camel Speed, is inspired by “the spirit” of Dubai. “I take the energy from what happens around me. I feel it in my heart and transmit it in my way,” he says. “Today in the Emirates we have a movement of art, a big message to share. We are not that well-known but we will be in future.”

It is hard to argue with his conviction, with increasing opportunities to engage with art spreading into public spaces – and even onto transport. In the Madinat Jumeirah resort in Dubai, guests are ferried around on golf buggies decorated with specially commissioned designs created by four female Emirati artists and one UAE-based male artist. Among those who worked on the project was Sheikha Wafa bint Hasher Al Maktoum, who deconstructs familiar UAE icons and uses them as the basis for spiralling, geometric circular patterns.

“I keep getting photos of my artwork on the buggies, sent by friends and people who visit the hotel,” she says. “It is always a pleasure to see people appreciate my art.” It is intriguing to see how different minds have approached the unique canvas offered by the buggies. The colourful work of Eman Al

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A sculpture by Mattar bin Lahej

art

Raesi mixes pop surrealism and cubism while Hessa Al Awadhi draws on pop art influences. The native species of fish found near the UAE coast inspired Sheikha bin Dhaher’s illustrations while UAE-based Majid Alyousef's calligraphy artwork borrowed from the three-fingered hand sign used by Dubai’s ruler Sheikh Mohammed bin Rashid Al Maktoum to signify the words win, victory and love. “We live in the UAE,” says Sheikha Wafa. “We make great things happen now, not in the future. I think this goes for everyone living here in the UAE. Everyone who is interested in art and design nourishes the scene, either by taking part and getting involved in it, visiting art venues or contributing as sponsors, patrons and collectors.”

One of the more recent developments was the opening in the UAE capital Abu Dhabi last year of Warehouse 421, a designated arts district which has drawn comparisons to Alserkal Avenue. Among the first artists commissioned to use the industrial space was Hind Mezaina, who recently completed the Salama bint Hamdan emerging artists’ fellowship, a year-long programme to support upcoming artists hosted at the venue in partnership with the USA's Rhode Island School of Design. “When the galleries started to appear, everyone wanted to be an artist,” says Mezaina, who is also the voice behind The Culturist, the award-winning blog which has traced the UAE’s ever-expanding arts scene since 2009. “It is in the DNA of our country to do things quickly.

Not everyone can pursue art full-time. Over time you could tell who would carry on. It was survival of the fittest. There is still a long way to go in terms of education and critical discussion but for the first time, now we have a new generation of Emirati artists breaking out into the world.”

And that, says Gregos, is exactly the point. While only a tiny percentage of artists make it into the uber-league of those selling work for millions, most are driven by a desire which goes far deeper. At her 2014 TedX talk in Belgium, the former director of Art Brussels said: “Art is optmisitic because it makes a statement that one person can change the world, even if that world exists on a tiny piece of paper, five inches by seven inches. It is saying in a small way, I make the world, I don’t simply inherit it. The best art should ask you what you think, prompt you to ask questions and put you into doubt. Art testifies to the power of the human imagination, the unique capacity of humans to project, to dream and to reflect on things not only as they are but as they could or should be.”

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TAKING THE LEAD A UAE initiative is empowering women by helping them build community projects. Emma Procter reports

The founders of Promise of a Generation, from left to right: Esther Tang, Aysha Al Hashimi, Adela Acevedo and Aida Al Busaidy

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entrepreneurs

T

he initiative E7 was born in a coffeeshop – coincidentally the same place where six years earlier, four women had dreamed up its umbrella organisation, Promise of a Generation (POAG), with a pledge of cross-cultural dialogue and activities. Its full name is E7 Daughters of the Emirates – the E7 stands for the seven emirates which make up the UAE – and it aims to help young women under the age of 25 pioneer community projects.

The year-long scheme invites women to develop and implement schemes which benefit their communities and empower other women, from encouraging female apprenticeships in the motoring industry to teaching English to low income workers and tackling bullying on social media. Every year, 35 participants – three Emiratis and two long-term residents from each emirate – are guided by community leaders, trained in design, connected to mentors and supported with ongoing learning opportunities, all with the aim of achieving their chosen community project.

Two months later, each team pitches for its share of $27,000 sponsorship money. The mentor-mentee relationship is at its most intense as the teams refine their project ideas and practise presenting in front of a panel of judges.

The rest of the year is dedicated to implementing their projects, with continuing support and networking opportunities provided by E7 founders. At the end of the year, the participants share the results of their projects, with some committing to developing them as ongoing enterprises.

Adela Acevedo, chairwoman of E7 and one the founders of POAG, says: “Back in 2014 we were inspired by Michele Wong, a Canadian who put together the Girls 20 Summit, which brings together a young woman from each of the G20 nations for a two-week development programme. E7 was born in a coffeeshop in Jumeirah Emirates Towers, the same place where six years before, myself and colleagues Esther Tang, Aida Al Busaidy and Aysha Al Hashimi had dreamed up Promise of a Generation, a community

initiative providing regular panel discussions and cultural activities bringing together the UAE’s diverse community.”

They came up with the E7 mantra of inspire, train, connect and commit and launched the scheme in April 2015. “In terms of inspiration, the aim is to enable young women and show them they can have a positive impact in their communities now, as 18-year-olds without a university degree, a fancy job, charitable foundation or big bank account,” says Acevedo. “We always give the example of a book club – that by gathering 20 children in your neighbourhood for a monthly story [session], you can instill love for reading in the next generation.

“E7 projects tackle a wide range of areas, including encouraging the active participation of women in the automotive sector, providing career discovery opportunities for high school students, enhancing the earning potential and quality of life of low income female workers through English language training, raising diabetes awareness among adolescents, tackling bullying on social media, helping youth with dyslexia and fostering greater knowledge and appreciation of Emirati culture.”

Members develop long-lasting relationships with their mentors, project partners and beneficiaries, opening the door onto future career paths and other opportunities. This year also saw seven women given cabinet posts in a reshuffle of the UAE government. They included 22-year-old Shamma Al Mazrui being appointed the minister for youth affairs and becoming the youngest cabinet official while Ohoud Al Roumi became the country’s first minister of happiness.

The appointments in February compounded a message from the vice president of the UAE Gender Balance Council, who said the country aimed to be one of the top 25 countries in the world for gender equality by 2021. Mona Al Merri said: “The UAE leadership has high aspirations for women.”

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Image: Getty. Interviews by Gareth Rees

lifestyle

ThE InsIdErs’ GUIdE To‌

emirati life

Made in the UAE: six Emiratis share their memories of growing up in the country and tell us what inspires them

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Elham Bolooki

Khalid Shafar

Elham Bolooki, 23

khalid ShaFar, 36

operations manager for Jumeirah Group; member of Future leaders’

designer

programme

I was born in Dubai but my family moved to Sharjah when I was a child. We lived in a villa with a huge garden, where my siblings and I spent afternoons playing with our pet rabbits. We moved back to Dubai when we saw the city was taking shape. We lived across from Jumeirah Emirates Towers and I remember watching the elevators going up and down every night before going to bed. I think that is when I first fell in love with hotels. I wanted to move to the US to study musical theatre but as I was waiting for a scholarship, my family suggested I start at the Emirates Academy of Hospitality Management as a back-up. A week in, I got my scholarship but by that point I had fallen in love with the hospitality industry and could not give it up. I am often called a ‘Jumeirah baby’ and I always say I was born and raised with the company’s values. It is a homegrown company and a place to grow, which is what Dubai is all about. I am part of the Future Leaders’ programme – over five years, it enables candidates to experience working in all departments of a hotel with the aim of making them general managers by the end. I am currently working on the opening of Jumeirah Al Naseem.

My favourite thing about Dubai is the cultural diversity, which inspires my passion for the hospitality industry. I feel responsible as an Emirati to be the best in my field and many Emiratis from my generation feel the same.

The main misconception about our culture is that Emiratis are all rich and women are commonly housewives. I was raised to be very independent and never felt I had to fight any harder because I am a woman. Emirati women nowadays have really evolved and it is obvious we can take care of ourselves.

I am very proud of that. Outside work, I really love to eat out. My favourite restaurant is Smiling BKK in Jumeirah. I love Thai food and the food there is as authentic as it gets.

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I grew up in Jumeirah in Umm Suqeim 1. It was a simple neighbourhood, completely residential with direct access to a quiet public beach. Lots of families lived together. I still live in Jumeirah and now Beach Road is one of the busiest in Dubai. My favourite spots are Baker and Spice and Cafe Bateel in Town Centre Jumeirah. If I crave a burger, I head to Salt on Kite Beach.

My favourite restaurants in Dubai are La Petite Maison, Zuma and Teatro.

I lived in New Zealand from 2010 to 2011 but Dubai is my home town. It is where my family and friends are. If I was given a choice to live in any city in the world, I would choose Dubai. It is full of opportunities, a melting pot of cultures with great facilities for business and life. It is a young city but has already surpassed many other cities on numerous fronts. My designs are inspired by Dubai – by my neighbourhood, my childhood and the people and things around me. My memories help me create stories through my work. I am extremely proud to be Emirati. The design industry in Dubai has emerged only very recently in the last four years. Its growth has been fast compared to other cities but there is still work to do when it comes to education. Designlovers should visit the hub of design in the region, Dubai Design District (D3) and of course my space, Kasa, in Ras Al Khor industrial area. I travel a lot and our reputation in most parts of the world, especially in Europe and the Far East, is very positive but I am sometimes disappointed in places such as the United States or Australia and New Zealand, where there is a lack of knowledge about modern Dubai. Their image of the city is influenced by 1001 Nights. The main misconception about Dubai is that there is ‘no culture’. I am a culture-lover and having many expats around me means I am surrounded by a multitude of cultures to learn from. The experience works both ways; the best way for expats and tourists to understand Emirati culture is to talk to Emiratis.

lifestyle

Kite Beach

Burj Khalifa

Emirates Towers

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lifestyle Eman Al Yousuf

Eman al Yousuf, 29

Writer

I was born in Sharjah but raised in Jumeirah, Dubai, where I still live. I have warm memories of my brother and I playing in our villa’s little garden and cycling around the neighbourhood. Jumeirah has changed a lot. I like Luqma, a modern Emirati cafe in Boxpark on Al Wasl road, where I enjoy my favourite karak tea. Yamaha cafe, also in Boxpark, serves great sushi. If I want to escape, I go to Kite Beach. I call it my secret garden. When I was a child, I used to borrow books from Dubai public library, which was – and still is – within walking distance of my house. I read a lot and as a child, I found such happiness and joy in coming up with stories and telling them to people or having my friends and siblings re-enact them. I started writing stories when I was 12 years old. Unfortunately, nowadays children do not spend as much time outdoors and so do not use their imaginations to create a world of their own. Many writers have inspired me, from Virginia Wolfe to Ghada Al Samman from Syria, Bothayna Al Essa from Kuwait and Tawfiq Al Hakim from Egypt. Dubai is ideal for writers. It is culturally diverse with more than 200 different nationalities living together in peace and harmony. It is like experiencing all the colours of a rainbow at once. There is also great support from our leaders and government. The UAE president Sheikh Khalifa bin Zayed Al Nahyan declared 2016 a ‘year of reading’. Today we are witnessing a great Emirati literary movement. More than 10 new Emirati publishing houses have been set up in the last few years and more than 100 books written by Emirati authors are being published every year. In my book Khubz O Hibir, which means Bread and Ink, I interview successful Emirati women writers. We chat about their books, life and what it takes for a woman to be a writer in the Middle East. Emirati women are privileged as they have the full support and faith of their leaders, government and society. People are

Sharjah

getting to know Emirati writers better but the language barrier is still preventing non-Arab people from being introduced to Emirati literature. The process of translation is sluggish. I think non-Arab people are interested in Emirati culture and literature and I would love to see more books translated.

Hana al muHairi, 22

assistant Pr and communications manager in the national graduate programme for Jumeirah Group.

I have never lived outside Dubai. I feel homesick when I travel. I grew up in Jumeirah – life was simple and our neighbours were like part of the family.

They would come and have breakfast with us in the morning or tea in the afternoon. I love everything in Jumeirah. I live seven minutes’ drive from work and can see the Burj Al Arab Jumeirah from my bedroom window. The beach is just behind my house and the mall is across the road. I like to have breakfast in The Hamptons cafe on Beach road. They serve the most delicious rose croissants. It is part of our culture to be generous and hospitable to guests but I remember when people from all around the world first started to move to Dubai and we were suddenly face-to-face with people from different cultures. We experienced a culture shock. Now we have adapted to it.

Most of my friends are expats and I have learned a lot from them. We think the same way about a lot of things. I am currently working on the opening of Jumeirah Al Naseem. It is an amazing property. Madinat Jumeirah is inspired by UAE heritage and culture but Jumeirah Al Naseem speaks of the Dubai of today, where our traditions have mixed with the modern world. I am very proud to be Emirati. My advice to tourists and expats who want to know more about Emirati culture is: don’t be afraid to ask questions. It makes us proud that you want to know more. Some people think that Dubai is all about money, cars and nice buildings but we have very wise leaders, including

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lifestyle Hessa Al Shafar

some amazing female leaders. Our government is very supportive. It provides education, jobs and a good life and aims is to make Dubai the happiest place in the world.

Hessa al sHafar, 26

fashion designer and co-founder of the label Pose/arazzi

Dubai is a city where people from all over the world have gathered, where cultures have mixed and we have learned to integrate the customs and traditions of the East and the modernity of the West. It is the most cosmopolitan and culturally diverse city in the Middle East and living here has enabled me to appreciate fashion from many different standpoints, to see how individuals use fashion as a medium of self-expression and in some cases as a form of art. In the past five years, the city has attracted the brightest talents and become a hub of creative minds. My designs aim to empower those who wear them by allowing individuals to embrace their own unique personalities and display them through their own sense of style. All our products are designed and made in the UAE. I am disappointed when people think Dubai is only for outside investors. I would recommend homegrown retailers such as The Cartel, Ush boutique or BeYou boutique, especially if you want to check out our collection. Nobody should miss out on D3.

Dubai is not a fantasy land as some people think. You can still can see old Dubai in our traditional souks and cultural areas such as Al Fahidi Historical District. Some people still think we lack freedom and assume Dubai is strict and unaccepting of other cultures. This could not be further from the truth. Dubai is one of the most foreigner-friendly places you will ever visit.

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Shaikha Al Ali

sHaikHa al ali, 22

food blogger, TV presenter, recipe developer

My childhood in Jumeirah revolved around walking to the beach close to our house, gathering seashells, playing with the harmless jellyfish that would land on the shore and ending the day swimming. I loved it. I still live in Jumeirah. As a child, I lived in London for a while and I felt homesick all the time. Dubai is my city; it is where my roots are. Dubai sees nothing as impossible. It is beautiful that the city has such a large expat community. We have grown to accept difference, learn from it and sometimes even take from it. Being Emirati, I feel like a daughter who wants to make her father proud. The main misconception about Emirati culture is that women are oppressed and men are the main decision-makers.

Today the UAE really supports women and we are so proud to be able to say that. People here appreciate talent and creativity. No matter what your age or background, you are always motivated to do more because of the great support system that is available here. It is a privilege to be able to promote Emirati cuisine, which is based on the ingredients our ancestors had at hand. What is special about Emirati cuisine is that many dishes were influenced by trade with people from places such as India and Persia; neighbouring countries all influenced our dishes. I was really happy to be given the nickname ‘the Emirati Nigella’. We both believe in good, simple food. What is great about the Dubai food scene is that it is always evolving. I love Maharaja Bhog in Bur Dubai for the food and the dining experience. Authentic thali - delicious. Order the smoked laban.

See page 60 for Shaikha’s take on authentic Emirati cuisine

Dolce and Gabbana images courtesy of Dolce and Gabbana

Dolce and Gabbana

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fashion

cut from a diffErEnt cloth The hijabistas are reinventing the traditional abaya worn by Arab women to come up with ever more creative designs. Emma Procter reports

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Catwalk design from Slouchy’z

F

or outsiders looking in, the abaya might seem a somewhat confusing garment. For decades, it has been closely entwined with religion and largely seen as a cultural symbol. Yet thanks to a growing breed of ‘hijabistas’ – the fashion designers reinventing the plain black abaya – it is now evolving from a simple, unembellished garment into an elegant and stylish item in its own right. Even high-end western designers have jumped on the bandwagon, from Bruce Oldfield, who created the world’s most expensive abaya encrusted with diamonds in 2008, to Dolce and Gabbana, which launched its first collection aimed at Middle Eastern customers earlier this year with a range of abayas and hijabs in its signature colourful prints.

A floor-length flowing gown cut from light, flowing fabrics like crepe, georgette and chiffon, the modern-day abaya differs from region to region. Some have embroidery on black fabric while others are brightly coloured and are trimmed or decorated with ornate tapestry, sequins or gems. In 2016, the abaya has evolved into a fashion item that is garnering attention across the globe.

Among the abaya’s key designers and reinventors is Slouchy’z, founded by Emirati Maryam Al Selaich. Well-known in the luxury market for her attention to detail and high quality work, her couture designs are aimed at the contemporary Arab woman, embodying tradition and whimsy with delicate cuts, flowing textiles and unusual prints. Sold in stores in Dubai and Doha, her designs were a perfect match when the new Jumeirah Al Naseem hotel in Dubai was searching for a look to encapsulate contemporary Emirati culture. Al Selaich has designed elegant, striking uniforms for the hotel’s female Emirati employees.

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Catwalk design from Slouchy’z

fashion All images this page: the new abaya uniforms designed by Slouchy’z for Jumeirah Al Naseem

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Images courtesy of Amal al Raisi

Amal al Raisi

Images courtesy of Zareena Yousif

Zareena Yousif

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Amal al Raisi

Zareena Yousif

Amal al Raisi

Zareena Yousif

fashion

‘‘

‘‘

The new generation is eager to see diversity in choice as the abaya is essentially an extension of their personality

Dolce and Gabbana

Dolce and Gabbana

“We understand the new generation is eager to see diversity in choice as the abaya is essentially an extension of their personality,” she says. “Jumeirah saw the similarities and that our concepts follow the same vision. We considered the whole concept of the hotel and how it blends our culture with the western world. That inspired me to combine the two in a manner where we do not lose our identity and customs yet feel we are following the changes of our time. The abayas also needed to be easily worn and not disrupt daily work so the design was created to be clean-cut and manageable.” She adds her inspiration comes from everyday life: “I use everything around me – nature, music, personal and public events.”

Then there is Emirati designer Zareena Yousif, a regular at the bi-annual Fashion Forward catwalk show in Dubai. Her floaty, feminine, delicate designs mix pastels with hand-stitched metallic embroidery and charming touches like ruffled sleeves, feather embellishments and sari-like draping. Together with Slouchy’z, designers like Yousif have marked a revolution in the way abayas are perceived. Runway watchers have been dazzled by collections that embrace colour instead of the traditional black and use a lavish mixture of textures. The late, great designer Gianni Versace once famously said: “Don’t be into trends. Don’t make fashion own you - you decide what you are, what you want to express by the way you dress and the way you live.” That could easily be the mantra behind the new, highly successful crop of Arab designers.

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fashion Dolce and Gabbana

Dolce and Gabbana

Bruce Oldfield

Another trailblazer is Amal Al Raisi, the creative mind behind the Dar Al Aseel label. She began her fashion career designing traditional Omani dresses and went on to design abayas and jelabiyas (a floor-length caftan-like dress). She is also a regular at Fashion Forward and was in talks with Suzy Menkes, the international editor of Vogue, who recently visited Oman.

While the abaya has become a canvas for designers to imprint their vision, there are still boundaries to work within. As Oldfield told the Telegraph when he unveiled his abaya: “The most difficult challenge for me was to create a garment which did not follow the natural curves of a woman’s shape.

An abaya must, by definition, envelope the body rather than suggest what lies beneath, which is in complete contrast to what I do.” That has triggered ever-more inventive creations. Dolce and Gabbana’s collection, sold in Harrods in London, was heralded as so versatile it crossed cultural borders.

Forbes business magazine dubbed it the brand’s “smartest move in years” as evidence that inclusivity made financial sense for companies with an eye on the global marketplace.

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image: Getty

Al Raisi says she is inspired by her native Oman, whether it is “an old Omani story, the landscape or a craft”. She adds the abaya is capturing the imagination globally because of increasingly creative designs. “As Arab culture has become more liberal, designers have the freedom to be more creative with their design process,” she says. “This has drawn attention to our heritage, our cities and ultimately led to an appreciation of our style.”

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travel

BREEZING INTO DUBAI The new Jumeirah Al Naseem hotel opening in the Madinat Jumeirah resort is named after a gentle sea breeze – and like its name, it's a breath of fresh air. Claire Hill reports THE LOWDOWN The newest addition to the Jumeirah portfolio, Jumeirah Al Naseem, is nestled on the city’s longest stretch of private beach and brings a fresh feel to Madinat Jumeirah, the Arabian resort of Dubai. Inspiring and restful, contemporary and culturally connected, it brings a wave of vibrancy and energy that reflects the Dubai of today. The hotel offers 430 spacious guestrooms and marks the final chapter of the Madinat Jumeirah resort. It joins the grandiose Jumeirah Al Qasr, the recently renovated Jumeirah Mina A’Salam and the exquisite summerhouses of Jumeirah Dar Al Masyaf.

THE LOOK The modern-day Dubai theme runs throughout the hotel: from the art pieces on the walls to the sculptures in the hotel entrance and the abayas worn by female Emirati staff, every aspect tells a story. As you step inside, admire the light, airy lobby, the modern Arabian design and the specially commissioned artwork on display. The large stainless steel sculptures in the hotel’s entrance and lobby were designed by Emirati artist Mattar bin Lahej and tell the story of Dubai. The commissioned pieces reflect both the contemporary nature of the hotel’s design and celebrate modern Emirati culture. Born in 1968, Bin Lahej used to play football with his friends on the same stretch of pristine beach where Jumeirah Al Naseem now lies.

The abaya uniforms were exclusively designed in the tones which inspired the hotel’s colour themes. They were specially made by Emirati luxury fashion brand Slouchy’z and reflect today’s contemporary Arab style.

Meanwhile the contemporary art theme continues outside with the design of the resort’s luxurious fleet of golf buggies, used to transport guests around Madinat Jumeirah, Jumeirah Beach Hotel and the Burj Al Arab Jumeirah.

Decorated by local artists in collaboration with Dubai Culture and Brand Dubai, the buggies help tell another chapter in the Dubai tale, inspired as they are by Arabic calligraphy, Emirati women, local sea life and traditions.

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Ocean suite

Lobby lounge

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Presidential suite pearl bathroom

travel

As for the exterior, the hotel’s lush gardens and landscaping were created by Bill Bensley, a renowned architect and landscape designer who graduated from the Harvard Graduate School of Design. He has dedicated his career to designing luxury hotels around the world, which often incorporate elements of the local environment. In Jumeirah Al Naseem, the pools and gardens border the sandy beach and there are 14 species among more than 1,000 palm trees in the grounds, providing pockets of shade, privacy and peacefulness.

THE DECOR Striking floral displays were masterminded by Kally Ellis, the former bankerturned-celebrity florist who adorns the Vanity Fair Oscar party from her shop, McQueens of London. The colour palette comprises mainly white flowers accented with muted pinks, blues and creams in keeping with the hotel’s decor. Guests will be welcomed by a beautiful display in the lobby set on three large feature tables. Each display takes about two hours to make and installation takes a further three hours. To ensure the arrangements are ready for guests in the morning, this is all done at night by seven team members, who also refresh the flowers daily.

GuEsT ROOms anD suiTEs

Sand room

Al Naseem translates as ‘a gentle sea breeze’ and reflects the hotel’s theme where the outside is invited in. The contemporary interior design of the spacious guest rooms is inspired by sand dunes, blue skies, sea breezes and Dubai’s pearl diving and Bedouin heritage. Warm and inviting, energetic and inspiring, the hotel is ideal for the adventurous traveller looking for an authentic yet luxurious escape. Arabian culture and design elements are re-imagined, delivering a strong sense of place and the Jumeirah Stay Different ethos, which promises an “imaginative and exhilarating” experience through clever design and superior aesthetics. The stunning choice of rooms and suites include 12 specifically designed family suites. A number of ocean suites, two presidential suites and a royal suite can be found on the highest floor of the hotel with magnificent views. All rooms feature generously sized bathrooms, touches of contemporary Arabic decor and fabulous walk-in showers. The balconies and extended terraces offer views of the sea, landscaped gardens, swimming pools and the neighbouring Burj Al Arab Jumeirah. The hotel is located so close to the water that the sound of crashing waves reaches the guest rooms, open terraces and outdoor restaurants.

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travel

Al Mandhar

Kalsa

Rockfish

Summersalt

THE RESTAURANTS From the 7th century, Arabs travelled and settled across the Mediterranean, leaving behind a strong legacy of architecture, art, fashion and cuisine. In tribute, the seven restaurants and bars in Jumeirah Al Naseem follow an Arabian explorer theme and provide guests and visitors an opportunity to discover a taste of the region’s past.

Al Mandhar Lounge - which translates as ‘amazing views’ – is so-named

because of the venue’s spectacular vista taking in the Burj Al Arab Jumeirah and the Arabian Gulf. Sit back in the bright, sunlit lounge and explore a fusion of French and Moroccan snacks including bocadillos (Spanish-style sandwiches), bisteeya (a type of meat pie) and a selection of mint teas. The Palmery, inspired by the Arabian gardens of Morocco, southern Spain and Tunisia, offers a wide selection of international favourites, in a combination of buffet and sharing styles. For tempting and healthy pool side options, head to Kalsa pool bar, named after the area of Palermo where the khalifa lived when Sicily was inhabited by Arabs. You can sample deliciously tempting flatbreads and poolside snacks such as salad greens, grains and superfoods.

A unique beachfront location and eclectic interior design compete for attention in Rockfish, a seafood restaurant offering Mediterranean classics with an Arabian twist. Sample oysters, crudo, (the Italian version of sushi) and seafood specialities such as grouper, octopus, turbot, mackerel, squid and prawns.

Ambar is a rooftop bar with incredible views over the resort and offers con-

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temporary Arabic mezze and a large selection of cocktails. The Summersalt beach club is the place to go for lazy beach days. The dinner service is themed around the ancient spice route followed by explorers and features international dishes. Located next to the hotel’s adults-only swimming pool, Sugarmash represents the modern-day explorer with poolside cocktails and snacks from the Polynesian islands. Restaurants run by partners are also set to open, from New York’s Black Tap, which offers artisanal burgers, to Il Borro Tuscan Bistro Dubai, the first international outpost of the Italian restaurant run on a Tuscan estate by Salvatore Ferragamo, a Philippe Starck-designed Japanese Katsuya and the popular homegrown brand Flamingo’s.

DON'T FORGET TO LOOK OUT FOR...

Children and teens can become young explorers and learn basic words of Arabic in the Kids’ Club. They will have fun making the most of complimentary access to Wild Wadi Waterpark, as well as discovering varieties of trees and shrubs native to the area in the hotel’s gardens.

A custom-designed, seawater-fed lagoon has been created within the hotel to accommodate the turtles nurtured by the Dubai Turtle Rehabilitation Project.

The discovery trail that surrounds it provides hotel guests and visitors with the opportunity to learn more about different species and the work of the project . jumeirah.com/alnaseem

You’re with us today.

Imagine where we can take you tomorrow.

The enhanced Jumeirah Sirius Recognition and Rewards programme. Collect points to go further, stay longer and STAY DIFFERENT™. Become a member before checking out and make this stay count towards unlocking even more privileges*.

If staying at a Jumeirah property, apply at reception; or visit jumeirahsirius.com *Guest on an eligible rate will accrue Jumeirah Sirius Points for their current stay.

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All images courtesy of Shaikha Al Ali

food

THERE’S NO TASTE LIKE HOME International restaurant chains might be on the rise in the UAE – but Shaikha Al Ali pines for a taste of homebaked nostalgia. The celebrated Emirati TV presenter, food writer and photographer tells Jumeirah about her favourite dishes I am going to start by saying that no, falafel is not Emirati, nor is shawarma and neither is hummus. There are a lot of misconceptions that face Emirati food and the food of the Arabian peninsula, which I think all relates back to the fact there were not a lot of resources in olden times, while going into an Emirati home to discover more about its cuisine is not an easy task. When I look for books that discuss Emirati culture, for some reason I always fail to find anything called Emirati Food.

As an Emirati, I have had the pleasure to dive into many cuisines and food experiences from all over the world, from the best tagines in Rabat to the spiciest tom yum soups in Thailand and the best paellas in Spain. It has given me an appreciation for all things local and has created an ethos in me that cooks should always pour their identity and soul into the dishes they make. They should be knowledgeable about their food culture and they should never forget the roots they were born into.

I used to try to really dive into international cuisines but one day a friend of mine, who happens to be an acclaimed chef, asked me: ‘Shaikha, do you cook any Emirati food?’ to which I had no answer. I had been so immersed in finding out about food cultures from around the world that I forgot about my own. It was a game-changer and from that day, I discovered an immense passion for the food culture in the UAE. Emirati food is quite simple. It is basic and down-to-earth because food supplies were once limited, even scarce. A good meal would usually consist of

a deep-fried zubaidi fish [silver pomfret] with a side of white rice and some freshly chopped mcheecha on the side. Mcheecha is a humble side dish which consists of chopped ghaf leaves from one of the most widely grown trees in the UAE. It is a classic and drips of nostalgia. It is called mcheecha because of the sound it makes when you chop it.

Desserts would usually be based around things like dates or brown flour with sugar, butter and spices. The sweetness would usually come from dates, due to the abundance of palm trees. Rutab [ripe dates] would be harvested during the summer and paired with a much-loved finjan [cup] of Arabic coffee, the perfect accompaniment to the juicy fruit. If you focus on these ingredients, you realise how wholesome and healthy they are: dates are considered a superfood. Another superfood which might not be as widely known is camels’ milk. The creatures would be milked twice a day at sunrise and sunset and their milk drunk fresh. You can tell the milk is of a great quality if you cannot see it from the amount of foam on the surface. It is usually sweetened with some local honey and sometimes with a hint of fenugreek and is even healthier than cows’ milk.

But when we start to dig deeper, the nuances of this rustic cuisine really start to emerge. Did you know during winter - especially during a rainy season - locals would go to areas like Jebel Ali in Dubai and harvest local truffles?

Called fageih, they are quite different from European ones but are delicious.

The truffles would be cleaned to the core to avoid getting any sand residue in the dish, then made into succulent spiced stews or rice dishes. The hype and

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excitement families share with each other when the season arrives is priceless with houses sending each other their fageih harvests. Nothing could be more communal.

The beauty of Emirati food really comes from its simplicity, its ethos of little fuss, no extras needed, just pure goodness. It also comes from the fact that at heart, it really is about community – ingredients and dishes being shared around families, neighbours and friends; boxes of nabch [locally grown fruit like apples] being handed out across the neighbourhood, each trying each other’s delicious harvest; bucketloads of dried maleh [preserved salted fish] being handed out among Dubai’s families and each reviewing one another’s.

The idea of constantly giving one another part of your harvest, cooking your dishes using them and not expecting anything back is hospitality at its best.

From honey-filled mountains in Ras Al Khaimah to fageih-filled dishes and the best maleh makers in Fujairah, there are wonders galore. If you look at the geography of the UAE, you will notice how the cuisine alters slightly as you move from land to coast with dishes revolving more around fish and seafood in coastal areas like Fujairah and Dibba. Some cities have a slight Omani influence, like Al Ain, which boasts mashwi Al Ain – just like mashwi Oman, a mouthwatering cut of meat rubbed with specific spices and then wrapped

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in palm leaves and grilled underground for long hours, greeting you when it is done with a melt-in-the-mouth tenderness.

It is not easy to experience all of this but times have really evolved and we Emiratis now see a huge importance in educating people about our cuisine as a beautiful and warm way of communicating with each other. Besides, when we travel, don’t we experience a country through its food? Food is a universal experience where all barriers like language, religion, and background fall away.

I think the restaurant business could really use the introduction of a modern Emirati restaurant that is not mainstream - somewhere you could order a huge pot of jasheed (a seafood dish) or a pot of margooga (a delicious Emirati stew with cooked dough in it). We still have a mainstream approach to commercial Emirati kitchens. My idea would be to respect the old and accept the new and introduce new dishes into Emirati cuisine that still carry a scent of the past. I also think the younger generation should enjoy international dishes like burgers but should not forget their traditional dishes too. If we do not preserve them, who will?

Shaikha Al Ali appears on Hanhum (meaning bon appetit) on Baynounah TV. You can find her blogging on whenshaikhacooks.com and on Instagram @whenshaikhacooks

food

meet JUmeIRAH’S emIRAtI CHeFS mUSAbbeH Al KAAbI Age: 40 Occupation: Executive Oriental chef, Jumeirah Zabeel Saray Favourite emirati dish: Chicken machboos [a ricebased dish like biryani] my speciality is: My delectable machboos. You can try it in Sultan’s Lounge best family tradition: Tucking into baby lamb ouzi with rice best modern emirati or fusion dish: Balaleet (sweet vermicelli) with vanilla ice-cream and chocolate sauce Where to try emirati cuisine: My home, with the food prepared by myself. Failing that, come to the hotel and I will cook for you! We always have Emirati dishes on the menu “I became a chef because it is my passion and my dream. To me, cooking is art. My passion developed when I was little and used to go camping with friends.

I would be the one responsible for meals and taking care of expenses. I used to cook with my sisters sometimes. They would ask me to chop the veggies, clean the dishes and help them cook – and here I am today. I have been in this line of work for more than 17 years.”

NAdA NOORI JAbeR AlI Age: 47 Occupation: Emirati sous chef, Jumeirah Al Qasr Favourite emirati dish: Chicken madrouba [a type of porridge made from boneless chicken, lentils, coriander leaves and spices] my speciality is: Chicken biryani and chicken machboos best family tradition: Gathering together for the traditional Eid celebration best modern emirati or fusion dish: It would have to be machboos Where to try emirati cuisine: You can find me making an Emirati breakfast in Arboretum restaurant in Jumeirah Al Qasr. I would also recommend Al Marhabani restaurant on Beach road in Dubai or Fereej Al Ain restaurant in Barsha Mall “I always cook for my family and have always loved to cook. I started working in kitchens in 2006. When I was studying in the Emirates Academy of Hospitality Management, the teacher asked me what job I would like to do and I said I wanted to become a chef.”

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Av ib Als rant a erk al A rts hu of c bs v rea pru tive enue Em is no ng fr o wa irat i bu ttra m a d us sine c sse ting a ty ind n s, w u rite increa strial sr a yan singly rea, D di uba You i’s ng verse arra y

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S

Ayyam Gallery

omewhere around the middle of Dubai’s coast-hugging north-south sprawl, between looming masses of gleaming skyscrapers, sits the Al Quoz industrial area.

A dusty, unassuming, low-rise district known for manufacturing and storage, it is not somewhere the average visitor to Dubai would do more than whizz past on the main thoroughfare of Sheikh Zayed road, which borders the area.

Slowly, that is starting to change, almost entirely due to the growing profile of Alserkal Avenue, a homegrown creatives’ hangout which is fast earning a reputation as one of the Middle East’s most vibrant art hubs. The latest stage in Alserkal’s evolution is a growing number of forward-thinking design and creative businesses, which has seen it transformed from an emerging artistic hub to Dubai’s answer to New York’s Meatpacking District or London’s Hoxton. Much of its charm for first-time visitors is that the area’s industrialisation is far removed from stereotypes of the city’s glitz and glamour.

the district’s first permanent cafe, A4 Space, opened to the relief of thirsty gallery-hoppers.

Emirati artist and producer Rami Farook moved into the avenue in early 2011 to found the studio space Satellite after a neighbour tipped him off the next door unit was going up for rent. “The attraction was the high ceilings, reasonable rent and good transport,” he says, echoing the reasons behind New York’s 1970s art boom in Manhattan, or indeed any number of organic, homegrown art hubs from Berlin to Bangkok. The difference here, however, is that growth has been turbocharged by a $15 million investment from the Alserkal family to more than double the district’s size in the last year.

Today the district is about far more than art, with the quirky vibe and increasing footfall helping the expanded complex play host to an ever more diverse platter of businesses, many of them Emirati-owned and run. The neighbourhood grew from humble beginnings. It was initially established in 2007 by visionary Emirati entrepreneur Abdelmonem Alserkal as a single block of 20 warehouse spaces. A year later the first arts space, Ayyam Gallery, opened, followed the next year by the Carbon 12 gallery. By mid-2010, there was a modest cluster of just five galleries – not yet what you would call a scene but the roots of a nascent one.

March last year saw the unveiling of a major expansion to about 70 units spread across a 5.4 million sq ft area, including an events space used to host craft markets. In a few short years, Alserkal has morphed from a hipsters’ enclave into a fully fledged tourist attraction popular with families on a day out. The new sense of diversity is epitomised in one of the newest businesses to move in, Mirzam Chocolate, a small-scale chocolate factory which opened in September. Stepping inside the brightly lit space, the smell of cocoa instantly hits you. Glass walls show the team at work on the entire handmade process from bean to bar. A range of recipes pepper the team’s bespoke creations with ingredients including fennel, figs, ginger and cardamom.

Two years later, a total of 20 arts spaces lined two short streets. Performance venue The Fridge moved in from elsewhere in Al Quoz in September 2012, consolidating the sense of a community hub but it was not until 2014 that

Commercial manager Kathy Johnston says the opportunity for neighbourhood collaboration helped attract an industrial business to Alserkal. “Nearby there are a lot of opportunities and people wanting to work with us and our

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BUSINESS Mirzam Chocolate

Mirzam Chocolate

FN Designs

chocolates,” says the 32-year-old New Zealander. “It is a very open environment for creativity.”

Mirzam benefits from the community’s links both on social media and in the physical realm, with regular opportunities to distribute samples at exhibition launches and events. Artists to design the wrappers are also found nearby.

Emirati designer Sheikha Wafa bint Hasher Al Maktoum recently contributed a special guest recipe, the first in many planned collaborations with neighbouring creatives.

A celebrated artist, photographer, designer and curator, Sheikha Wafa – who has also contributed designs for Madinat Jumeirah’s new golf buggies – is the founder and director of FN Designs, a forward-thinking business which mixes commercial design, illustration and photography projects with in-house creations such as publishing magazine Amor and a UAE-inspired clothing line.

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Lammtara

confusion is understandable when you see the workplace – a high-ceilinged hipsters’ paradise painted in primary colours and punctuated by towering indoor palm trees, a red central spiral staircase and parked mopeds. The business was founded in 2005 by Mohammed Saeed Harib, the Emirati animator best known as the creator of the Arabic cartoon Freej, who moved to Alserkal four years ago.

“The whole warehouse concept means you can do whatever you want. Any business can come here and play around with the space, whether it is an art gallery or an events company,” adds Fahmy. “It is a unique place with a unique feel.”

Both are on display at the business’s base in Alserkal. Founded in 2009, FN moved to the arts hub three years later, where its warehouse doubles as a workspace and gallery. Designer Gian Juan, one of five employees, says: “We want a balance between art and design.”

Back at Ayyam, the first gallery to open in Alserkal, co-founder Ead Samawi says he welcomes the increasing diversification. “Where else can you do this?” he says, gesturing around his space. It will soon be joined by an expanded venue for Cinema Akil, the independent platform behind the district’s screening of arthouse films, Hollywood classics and documentaries. Some might argue this expansion and gentrification has seen Alserkal lose a dash of its earlier, undiscovered charm. But what the district has gained is the rather more urgent distinction of becoming a world-class creative hub to be noticed.

Nearby is animation studio Lammtara, where staff have tolerated trails of confused art fans wandering in off the streets for years. “A lot of people assume it is an art gallery and when they come in and realise it is not, they stop and go: ‘Wow’,” says communications and production manager Sarah Fahmy. The

“Just this morning I realised how the area is changing,” says Farook. “Now there are parking meters. That is how we know it is developing. You only lose the magic when the creation stops and I think we have found the right balance between creation and exhibition.”

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Peyman Al Awadhi (left) and Abdullah Al Jumah on the Rickshaw Challenge

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travel

EmirAti OutbOund Peyman Parham Al Awadhi has already reinvented the shawarma and taken Emirati culture around the globe with his brother. His latest venture is launching online travel shows in Arabic for the young ‘flashpacker’. Gareth Rees reports With four high-achieving siblings all breaking new ground as entrepreneurs and in command of at least four languages each, failure was not an option for Peyman Parham Al Awadhi. Luckily, the 40-year-old Emirati is a long way from letting the side down. One of the faces of the TV travel show Peeta Planet – which he co-presented with his brother Mohamed – his latest venture is an Arabic language online travel platform aimed at the ‘flashpacker’ – the backpacker who wants a little more luxury for his dirham.

“For a GCC [Arab Gulf] audience, I wanted something that was very traditional,” says Al Awadhi. “There isn’t anything travel-driven in Arabic. If you want to consume travel content in English, you can find millions of sites and lots of bloggers. This is the one place GCC travellers can come to consume content created for them, rather than created for somebody else and then translated.”

The site called Hod Yahl Dar is aimed at 18 to 35-year-olds and is predominantly visual, with 70 per cent of the content made up of videos and photographs but it will also feature blogs. It will be built around four original travel shows presented by regional celebrities, including Al Awadhi and Hod Yahl Dar’s co-founder, 29-year-old Saudi writer and traveller Abdullah Al Jumah.

The title comes from a phrase used by people in the UAE before the introduction of doorbells, to announce their arrival outside a person’s home. It roughly translates as: ‘Excuse me, people of the house’. The owner of the house would reply ‘hada’ (to a male visitor) or ‘hadi’ (to a female visitor), meaning ‘come on in’. “We are telling people we are coming to their countries, to their homes and are asking for permission to do that,” says Al Awadhi.

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travel

He says the platform has been created to fill a much-needed gap in the market.

The first show the pair filmed exclusively for Hod Yahl Dar, called Rahaalah (meaning explorer), introduced flashpacking, or backpacking for people willing to spend a bit more money to avoid staying in shared dormitories in budget hostels. It took the form of a video diary recorded by Al Jumah as he travelled through eight countries.

“We are showing an Arab audience places they would not usually go and things they would not usually do but remaining within in the boundaries of what they would be willing to do,” says Al Awadhi. “We are trying to encourage the young Arab traveller to be more adventurous in every way and to leave their comfort zone.”

not been written and said by people from the region. We felt it was not authentic. We wanted to tell our story.”

Both Wild Peeta and Peeta Planet are currently on hold – but it is almost certainly not the last venture the brothers are likely to embark on together.

Indeed, it was almost inevitable they would inherit the family entrepreneurial streak; entrepreneurship and wanderlust are in their blood. Both their salesman father Younes and their grandfather Mohamed were successful, widely travelled businessmen who instilled an interest in different cultures in their children. Peyman Al Awadhi worked in marketing for Mars Middle East, PepsiCo, Dubai’s Roads and Transport Authority and Dubai Sports Council before pursuing his restaurant dream with his brother, who gave up his own corporate career to plunge into the unknown.

A second show called Makshaat (Arabic for excursion), which will be broadcast later this year, follows Al Awadhi and Al Jumah as they travel through India in a rickshaw as part of the Rickshaw Challenge, an adventure experience off the beaten track where tourists commandeer tuk-tuks and have to find their way around the country. Described by its own website as “not on any travel agents’ roster and [not] for the faint of heart”, it typically runs from December to January. The show, says Al Awadhi, is intended to “shed light on India”. He says while many in the UAE will be familiar with Indian people and culture because of the large expatriate population living in the GCC, most Arabs will not have travelled to the subcontinent. “Abdullah and I have been friends for a little while but our friendship reached a different level on that trip,” he says.

The two eldest of five children, they are not unique in doing so among the Al Awadhis. Mohamed is also the co-creator of journalism app WePress and the founder of a communication consultancy called Qissa Social. Their brother Marwan, 35, better known as DJ Bliss, is the chief executive of Bliss Inc, an umbrella for seven entertainment ventures. Ehsan, 32, is a director for Dubai-based web design firm QB7 Studios. Their sister Sahar, 29, is the first Emirati to work as a professional pastry chef and is currently working in the kitchens of the Burj Al Arab Jumeirah. They are all, effectively, an embodiment of the modern face of Dubai. “We all inspire each other and push each other to do better,” says Peyman.

A third show, still in the pipeline, will feature a group of Arab female travellers. The shows will be produced by Al Awadhi’s own company called E3M Entertainment with regional personalities represented by his talent agency, 7elm. It is not his first dabble in the world of entertainment and presenting Emirati culture to the world. He and his brother Mohamed, 42, founded the gourmet shawarma restaurant chain Wild Peeta in 2009, followed by their own production company, Qabeela New Media, in 2011. Qabeela produced Peeta Planet, a travel show broadcast on Dubai One TV channel, in which the brothers travelled the globe in kanduras, introducing Emirati culture and confounding stereotypes about Arabs around the world.

And they are spreading the word, not just regionally but globally. Both Peyman Al Awadhi and Al Jumah have large social media followings and Hod Yahl Dar will embrace Twitter, Facebook, Snapchat and other platforms. Al Awadhi also has a social media agency, Barza New Media and plans to embrace the idea of ‘social travel’ as he did with Peeta Planet, treating each journey as a conversation in which they engage with their social media following for tips and recommendations. Al Awadhi says during the filming of Makshaat earlier this year, Al Jumah had 200,000 hits for every Snapchat post. Every journey will be documented live with social media posts pushing traffic to regular new content – meaning one show could keep the conversation going for several months as it echoes around the globe.

“Our objective was sharing our narrative with the world,” says Al Awadhi.

“There is so much that has been written and said about the region that has

Check out the platform on hodyahldar.com

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FUTURISTIC CITY Dubai’s Museum of the Future encapsulates its progressive thinking and rise to the international stage as a major global player. Gareth Rees reports

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w

hen the late Sheikh Rashid bin Saeed Al Maktoum was Ruler of Dubai, he showed the foresight to realise his people would not be able to rely on black gold forever. Even as the oil poured forth, he declared: “My grandfather rode a camel, my father rode a camel, I drive a Mercedes, my son drives a Land Rover, his son will drive a Land Rover, but his son will ride a camel.”

The leaders of Dubai have always looked to the future. Sheikh Rashid set about turning the city into a multicultural metropolis and a hub for international trade. He presided over infrastructure projects such as Dubai international airport, Port Rashid, Dubai World Trade Centre and Jebel Ali Port, laying the foundations for the emirate’s continued growth to this day.

His successor Sheikh Mohammed bin Rashid Al Maktoum has not merely continued the work of his father and the brother who ruled before him, Sheikh Maktoum bin Rashid Al Maktoum, but has provided the leadership to propel Dubai onto the world stage. Dubai is now renowned around the globe for its apparently limitless ambition, bold developments and confidence as an international player.

In line with Sheikh Mohammed’s declaration to be “among the most innovative nations in the world” – and sealing the deal with a $545 million innovation fund as part of the UAE Vision 2021, the federal government’s socio-economic plan for the country - was last year’s announcement of plans to build a Museum of the Future in Dubai. Described by the ruler as a “research institution dedicated to science and the future of innovation and exploring the next generation of technology”, the $136m “incubator for futuristic innovations and designs” is scheduled to open on National Day (December 2) in 2018. Its aim is to turn the UAE into “a major international destination for innovators”.

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The future belongs to those who can imagine it, design it and execute it. While others try to predict the future, we create it

The Museum of the Future will be built using 3D printing technology next to Jumeirah Emirates Towers, which is currently hosting an exhibition on its progress in the Boulevard and opposite the business hub of Dubai International Financial Centre (DIFC). It will function as both a tourist attraction, housing interactive displays of future technologies and an innovation hub, with the motto “see the future, create the future”.

Researchers, designers, inventors and financiers will work together in “innovation labs” focused on health, education, smart cities, energy and transport to come up with solutions to problems faced by the cities of the future, building and testing prototypes and funding and marketing new technology. The museum will also host scientific conferences, public talks and events and practical courses and workshops for designers and entrepreneurs.

In February this year, the museum hosted a pop-up exhibition in the Madinat Jumeirah resort as part of the World Government Summit, a meeting of presidents and country leaders from around the globe. Dr Noah Raford, the chief operating officer of the Museum of the Future Foundation, told The National the exhibition was “an extremely interesting way to get senior leadership to think about the emerging future, [to] get people who are actually building that future to come together and to try to peruse real solutions today that might help us toward the future we might want to have”.

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Cafe in the Museum of the Future

The exhibition’s theme was machinic life. It explored the role technology would play in our future lives, offering the public a glimpse of what the Museum of the Future might look like and the work that might be done there.

The existing technology on display included prototype mind-controlled prostheses, or smart limbs, a navigation belt designed to provide directions using vibrations rather than sight, a headset that its creator Thync claims can shift the user’s mental state, relieving stress and boosting positivity. There were also demonstrations of Affectiva, a facial recognition software that reads human emotions, toy manufacturer Hasbro’s Joy for All, a robotic companion for children and the elderly, Microsoft’s Xiaoice, a chatbot capable of simulating a human conversation and a computer terminal designed to make stock markets trade independently. Visitors were also offered a vision of a near future in which we will be able to augment our bodies using technology to improve performance, where “everything that can be automated will be automated” and artificial intelligence will make our decisions for us.

“The world is entering a new era of accelerated knowledge and great technological revolutions,” said Sheikh Mohammed when he unveiled the plans for the museum. “We aim to lead in that era, not to follow and lag behind. The Museum of the Future is the first step of many to come, marking the beginning of great achievements. The future belongs to those who can imagine it, design it and execute it. While others try to predict the future, we create it.”

technology

DUBAI’S OTHER PIONEERING PROJECTS WORlD ExPO 2020

The centre organises the Fazza Championships, a series of sporting

After a two-year campaign – backed by the Microsoft founder

events featuring traditional Emirati sports and pastimes such as

Bill Gates, the former British prime minister David Cameron and

falconry, free-diving, shooting, desert hunting with salukis and yola

former US president Bill Clinton – Dubai won its bid in 2013 to

dancing. Staff host pop-ups at events such as the annual Arabian

host the World Expo 2020 and immediately set about building

Travel Market trade show, Dubai World Cup and National Day

the infrastructure to host the event, with a special focus on legacy.

celebrations to introduce people to Emirati culture. HHC also carries

The Ruler of Dubai, Sheikh Mohammed bin Rashid Al Maktoum,

out research into Emirati heritage and launched the Watheqati

promised an event that would “astonish the world”, adding: “Dubai

initiative in 2014 to preserve and achieve historical documents and

Expo 2020 will breathe new life into the ancient role of the Middle

artefacts. It is a partner of the World Expo 2020 team, responsible for

East as a melting pot for cultures and creativity.”

organising a programme of heritage activities for the event.

hhc.gov.ae Billed as a “festival of human ingenuity”, the theme for the World Expo 2020, which will take over the city from October 20, 2020, to

A 45-YEAR lEGACY

April 10, 2021, is “connecting minds, creating the future”. Its reach

The $136m Etihad Museum will open on UAE National Day, December

is huge, both as a tourist attraction (20 million people visited the

2, near Union House, the building where the declaration marking the

Milan Expo in 2015) and in its scale, infrastructure and ambitions.

formation of the UAE was signed in 1971, signified by

Dubai’s exhibition will take place in three giant pavilions built near

its landmark high-flying flag. It might resemble a futuristic spacecraft

Al Maktoum airport, representing the world fair’s three themes of

but its structure is inspired by that historic day, taking the shape

sustainability, mobility and opportunity, all erected around a central

of a parchment with seven columns symbolising the pens used by

plaza called Al Wasl (meaning the connection). The organisers

the UAE’s founding fathers to sign the declaration of the union.

predict the first expo to be held in the Menasa region (Middle East,

The building is the work of Canadian architectural firm Moriyama

Africa and South Asia region) will attract 25 million visitors, with

and Teshima. The project will also see the flagpole extended to

70 per cent of visitors expected to come from outside the UAE,

123 metres. Union House and Al Diyafa Palace, where the UAE

boosting the city’s economy and reputation as a hub for business

leaders stayed during the negotiations, will also be restored to

and innovation.

their former glory.

expo2020dubai.ae Historic documents, photographs and documentaries will tell the TAKING THE PAST FORWARD

story of the founding of the UAE from the perspective of its founders,

Established in Dubai in April 2013 by the Crown Prince of Dubai,

the nation’s constitution and the rights, privileges and responsibilities

Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum, the

of its people. Together with a series of lectures and workshops, it will

eponymous Hamdan Bin Mohammed Heritage Centre (HHC) is

focus on the period between 1968 and 1974, from the moment the

dedicated to preserving and promoting Emirati heritage. Its chief

British consulate announced its intention to withdraw from the Trucial

executive Abdullah Hamdan bin Dalmook says: “Every nation is

States and Sheikh Zayed bin Sultan Al Nahyan became the first

enriched by its wealth of heritage and a country’s past paves the

president of the UAE.

way towards its future.”

dubaiculture.gov.ae

Etihad Museum

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travel

featured SpaceS With its ethos of bringing the outside in, this ocean suite in the new Jumeirah Al Naseem hotel is a breath of fresh air in bustling Dubai. Boasting spectacular sea views, there are 28 ocean suites covering an expansive 1,200sq ft each. A soothing colour palette reminiscent of the region’s desert and pearl diving heritage sets the tone. A generoussized terrace, large open-plan bathrooms and contemporary Arabian touches invite relaxation. Breathe in the warm sea breeze and you’ll see where the hotel gets its name.

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A UNIQUE DESTINATION IN THE CAPITAL.

You are different. That is why we have created a modern urban lifestyle experience in the cosmopolitan city of Abu Dhabi that is sure to exceed your every expectation.

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The high life:

Nathan Outlaw at Al Mahara, Burj Al Arab Jumeirah, Dubai

THE LOWDOWN: The Burj Al Arab Jumeirah’s signature seafood restaurant

a piquant cucumber sauce to the lobster risotto, packed with satisfyingly

has a new captain at the helm – Michelin-starred chef Nathan Outlaw, who

large, juicy chunks of lobster tail and given a surprising twist with slivers

has just sprinkled a dose of his Cornish magic on Dubai. Much talked-about

of orange, which somehow works. The truffle-topped turbot on a silken

in his native Britain for his ethos of no fuss and maximum taste to bring out

bed of cauliflower puree is firm, fresh and perfectly cooked, complex in

the best flavours in seafood, he has overhauled the menu in Al Mahara with

its simplicity. Be sure to leave room for Outlaw’s signature sticky toffee

dishes which are both an homage to the region and his beloved Cornwall.

pudding – a perfect circle swimming in caramelised sauce then has double cream artfully poured on top with a side of clotted cream, all topped with

THE ATMOSPHERE: The restaurant is absolutely buzzing on a weeknight.

impossibly soft dates which have been poached and stuffed with apple

The air quivers with expectation from tables packed with couples and

puree. Divine.

groups of friends, all dressed in their finest, who ooh and aah over each

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dish as it is brought out with a flourish. The waiters and sommellier are

INSIDER’S TIP: The restaurant’s six-course tasting menu is like a ‘best of’

extremely knowledgeable and keen to share their passion. The setting is

album compilation and saves you dithering over what to try – plus you get

decadent and exudes opulence, from the giant golden oyster shell and

to sample a plethora of dishes from the main menu. Be sure to take your

shimmering arches at the entrance to the crystallised sunken bar. Best of

after-dinner drinks out onto the terrace, which boasts fabulous views of

all, the central aquarium with its colourful marine life is still there.

the twinkling city lights.

THE FOOD: Spectacular – there are no other words. It gets better and

BOOKING DETAILS: To book, call +971 4 301 7600 or email

better with each course, from the deep-fried oyster topped with caviar in

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