Tashkent: An underrated gem of the Silk Road

Tashkent: An underrated gem of the Silk Road
Kukeldash Madrasah in Tashkent. (Shutterstock)
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Updated 17 October 2024

Tashkent: An underrated gem of the Silk Road

Tashkent: An underrated gem of the Silk Road
  • Uzbekistan’s capital city boasts grand architecture and a rich cultural history 

DUBAI: Tashkent may not be as famous for its architecture and culture as Paris, Rome or Barcelona, but the capital of Uzbekistan is an underrated gem for tourists.  

With a population of more than three million, Tashkent is the largest city in Central Asia, which was formerly part of the Soviet Union. Tashkent — which means “city of stone” — is historically significant as one of several trading hubs (along with its neighboring cities Bukhara and Samarkand) on the Silk Road stretching from Europe to China. In the 8th century, the city was under Muslim Arab rule, and Islamic architecture, studded with stunning blue tiles that match the skies above Tashkent, remains a notable feature.  

Under Soviet rule, Tashkent saw a rise in the modernist style of heavy, brutalist buildings beloved by the USSR — see, for example, the overwhelming, grid-like exterior of Hotel Uzbekistan, established in 1974. Between the 1960s and 1990s, such structures were part of a plan to rebuild the city after an earthquake in 1966.  




Tashkent's Alisher Navoiy Theater. (Shutterstock)

One of the grandest buildings in Tashkent is the centrally located Alisher Navoiy Theater, an elegant opera house which opened in the 1930s, playing the timeless melodies of classical maestros Tchaikovsky, Prokofiev and Verdi. It is named after the poet and national hero dubbed “the father of Uzbek literature,” who was born in modern-day Afghanistan during the 1400s. Designed by the Soviet architect Alexey Shchusev, the 1,500-seat opera house radiates with European and Oriental stylistic elements. Its six lobbies are named after the Uzbek cities of Bukhara, Khorezm, Samarkand, Fergana, Termez and Tashkent.  

A number of museums — devoted to history, art, geology and warfare — exist in the capital; one of the best is the highly ornate Museum of Applied Arts, which pays tribute to the delicate handcraftsmanship of traditional Uzbek artisans, and displays embroidery, pottery, miniature paintings, jewelry and weaponry. The building itself is a work of art too, showcasing detailed wooden ceilings rendered with floral and geometric motifs.  

There are more than 2,000 mosques in Uzbekistan and one of its oldest is Kukeldash Madrasah, founded in the 1500s. The tranquil site, which has been restored and used for various purposes over the years, was originally built to host lessons in Islamic studies and the Qur’an (lessons which still happen today). It also houses an intimate calligraphy studio. The main facade features Arabic scripture and a pattern of arches, decorated by predominantly blue mosaics.  

Close by is the lively and substantial Chorsu Bazaar, where locals go to shop for food, spices, crockery and trinkets. The ruby-colored pomegranate fruit is particularly popular, and also features as a motif on clothing, acting, in a way, as a symbol of the country. The bazaar sits under a blue ornamented dome, which was designed in 1980.  




Inside Tashkent's Chorsu Bazaar. (Arab News)

If you’re looking for a more peaceful location, then the Rakhimovs Ceramic Studio is the place to be. This haven of creativity, accessible by appointment only, aims to preserve the heritage of ceramic art. Full of decorated pottery pieces, the family-run space tells the story of four generations of ceramic masters, starting with one of Tashkent’s prominent 20th-century ceramicists and restorer of mosaics Mukhitdin Rakhimov down to his grandson, Alisher Akbarovich Rakhimov, who has passed along the art of pottery to his son, Shokhrukh.   

And Tashkent’s attractions are not all on its surface. Be sure to visit the Tashkent Metro, which, in 1977, became the first subway system in Central Asia. Its 29 stations resemble art galleries, full of sophisticated columns, patterned domes, colorful tiles and murals with stories of national pride to tell. Perhaps the most famous station in the system is Kosmonavtlar (Cosmonauts), with its blue-and-white interior that inspired by the ‘space race,’ which occurred between the 1950s and 1970s. The walls of the station showcase large medallions depicting the Soviet Union’s leading astronauts, Yuri Gagarin and Valentina Tereshkova, respectively the first man and woman to go to space.  




Kosmonavtlar Station on the Tashkent Metro. (Shutterstock)

Tashkent is an ideal location for lovers of architecture who want to discover something atypical. It has a visually appealing landscape of old and modern buildings, demonstrating the city’s diverse cultural heritage, which is worthy of preservation and attention.    


Shanina Shaik poses for Victoria Beckham Beauty

Shanina Shaik poses for Victoria Beckham Beauty
Updated 1 min 15 sec ago

Shanina Shaik poses for Victoria Beckham Beauty

Shanina Shaik poses for Victoria Beckham Beauty

DUBAI: Part-Arab model Shanina Shaik turned heads in Paris this week when she appeared in new images shared by Victoria Beckham Beauty.

The Australia-born model — who is of Saudi, Pakistani, and Lithuanian descent — was featured in photos from a collaboration post on Instagram between her and the beauty brand, seen applying products such as the satin kajal liner and eye wear palette to create a soft, bronzed makeup look.

Shaik also attended the Victoria Beckham show during Paris Fashion Week, where the British designer presented her Spring/Summer 2026 collection at 17th century Val-de-Grace Abbey. For the occasion, Shaik wore a chocolate-brown satin halter-neck gown with a high neckline and open back, styled with minimal accessories and glossy waves for a sleek finish.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Before the show, Shaik shared a behind-the-scenes video of her getting ready for the event.

“I am so excited for this show. I am obviously a huge fan,” she said in the video before breaking down the products she uses on her hair before styling.

She gave her followers a glimpse of her pre-show routine, sharing what she ate, followed by clips of her hair and makeup session. Shaik included shots from a photoshoot taken before the event, along with a short look at the show itself.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Beckham showed a collection of slip dresses, roomy suits and soft, leather jackets with crinkled edges for her namesake label’s show.

Models marched under the arched corridors in sharp-toed shoes, parading dresses cut in asymmetric shapes and uneven hems, the fabric bunched together in places, some covered with a dusting of spray paint.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Trousers were low-waisted, cinched with thin belts and paired with tops that were slit open in front, while suit jackets came in boxy shapes, without lapels. Handbags included a roomy duffle bag, a structured camera bag and one that resembled an accordion.

In written show notes, the brand described the collection as an “abstract adaptation of the coming-of-age wardrobe,” noting that Beckham had spent time reviewing photos of herself as a young adult.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Beckham has also been making headlines with her upcoming “Victoria Beckham” documentary, scheduled to premiere on Netflix on Oct. 9. In the three-part docuseries the former pop star-turned-fashion designer shares her story.


Diriyah Contemporary Art Biennale announces theme, artists for 2026 edition 

Diriyah Contemporary Art Biennale announces theme, artists for 2026 edition 
Updated 08 October 2025

Diriyah Contemporary Art Biennale announces theme, artists for 2026 edition 

Diriyah Contemporary Art Biennale announces theme, artists for 2026 edition 
  • Artistic directors Nora Razian and Sabih Ahmed discuss ‘In Interludes and Transitions’ 

RIYADH: The 2026 edition of the Diriyah Contemporary Art Biennale — “In Interludes and Transitions,” which opens Jan. 30 — will bring together more than 70 artists, and include more than 20 new commissions at JAX, Diriyah’s creative district. 

The title comes from a colloquial Arabic phrase that refers to the cycles of encampments and journeys in nomadic communities across the Arabian Peninsula, reflecting the movements, migrations, and transformations that continue to connect the Gulf region with the world. 

Diriyah Contemporary Art Biennale Artistic Director Nora Razian. (Courtesy of the Diriyah Biennale Foundation)

“There’s also this very contemporary conversation we’re presenting to complement that sentiment,” artistic director Nora Razian tells Arab News. “I think COVID changed the way people work, but I also think the whole ‘everything going digital and online’ has kind of faded away now and people are already craving the intimate conviviality of sharing an experience together. 

“Of course, if you are Saudi you kind of know Diriyah, but it was always a little bit outside of the city. Now it’s very much integrated into the city, and the way that people think about the city. It’s become its own kind of place,” she continues. 

The biennale will explore movement, processions, and cultural transmission. Sound-based works will be presented along with visual art, music, and performance, offering audiences a full-bodied, cross-disciplinary experience, according to the organizers. 

Artistic Director Sabih Ahmed. (Courtesy of the Diriyah Biennale Foundation)

While acknowledging that “some people may have been a little fatigued (by the number of biennales in the region, including the Islamic Arts Biennale in Jeddah, also run by the Diriyah Biennale Foundation),” Razian’s fellow artistic director, Sabih Ahmed, tells Arab News that this edition feels “a little bit like an edited anthology of many voices that come through together.”  

Both artistic directors were drawn to the idea of processions as a curatorial thread. In a joint statement, they wrote: “Processions have produced relations and forms in this region. The movement of winds and the flow of trade, migration, and exile are carriers of stories, songs, and languages, producing rhythms and poetic meters such as the rajaz. Thinking of the world in procession — a braiding of movements that commemorate and celebrate — allows an understanding of cultural forms through exchange and transmissions; itineraries of travel, intersections, and mutations; and the retelling of fragments of exiled stories that have persisted through bodies, materials, rhythms, and cadences.” 

Saudi artist Ahaad Alamoudi. (Photo by Zaynab Odunsi)

The biennale will unfold across multiple venues and outdoor spaces in Diriyah, with scenography by design studio Formafantasma and contributions from a team of international curators including Maan Abu Taleb, May Makki, Kabelo Malatsie, and Lantian Xie. Milan-based architect Sammy Zarka joins as associate architect and exhibition designer. 

The preliminary list of participating artists features Saudi artist Ahaad Alamoudi alongside international figures including Pio Abad, Rand Abdul Jabbar, Yussef Agbo-Ola (Olaniyi Studio), Afra Al Dhaheri, Mohammed Alhamdan (7amdan), Ruba Al-Sweel, Taysir Batniji, Raven Chacon, Rohini Devasher, Merve Ertufan, Ivana Franke, Rahima Gambo, Petrit Halilaj, Aziz Hazara, Alana Hunt, Yazan Khalili, George Mahashe, Théo Mercier, Nour Mobarak, Nancy Mounir, Hussein Nassereddine, Daniel Otero Torres, Thảo Nguyên Phan, Gala Porras-Kim, Sarker Protick, Raqs Media Collective, Oscar Santillán, Trương Công Tùng, Wolff Architects, Agustina Woodgate, and Yu Ji. 

By blending visual art, music, and poetry — a hallmark of cultural expression across the Arab world — the biennale is intended to amplify continuity and resilience in times of uncertainty. Through song, stories, dance and collaborative processes, it highlights how art preserves memory, asserts the power of the collective, and sparks hope. 

The Diriyah Biennale Foundation, chaired by Prince Badr bin Abdullah bin Farhan Al-Saud, continues to champion creativity and the transformative potential of culture. With the upcoming edition of the Contemporary Art Biennale, the foundation hopes that Diriyah can solidify its place as a generator of culture.  


‘Window on Palestine’ returns to El-Gouna Film Festival

‘Window on Palestine’ returns to El-Gouna Film Festival
Updated 08 October 2025

‘Window on Palestine’ returns to El-Gouna Film Festival

‘Window on Palestine’ returns to El-Gouna Film Festival

DUBAI: Egypt’s El-Gouna Film Festival is bringing back its “Window on Palestine” program for the third year.

Set to run from Oct. 16 to 24, the festival’s eighth edition will play host to a roster of Palestinian films in the special section.

This year will feature seven short documentaries from the “From Ground Zero+” initiative, offering portrayals of life in Gaza.

The documentaries were created through the Masharawi Fund for Films & Filmmakers in Gaza, in collaboration with Coorigine Production in France. All the films are in Arabic with English subtitles.

The selected works include “Colors Under the Sky” by Reema Mahmoud, which follows a displaced artist struggling to create music amidst destruction; and “Dreams of Farah and Zahra” by Mostafa Al-Nabeeh about two young girls who hold on to creativity as an act of defiance.

In addition, “Gaza to Oscar” by Alaa Damo follows filmmakers who risk their lives to tell their stories; “The Wish” by Aws Al-Banna in which theater becomes a tool for recovery; and “Hassan” by Muhammad Al-Sharif about how a Palestinian teenager’s attempt to get a sack of flour leads to detention.

Also showing is “Unfinished Stories” by Nidal Damo in which a filmmaker drifts from one unfinished story to another; and “Very Small Dreams” by I’timad Wishah about women in Gaza’s refugee camps as they struggle to maintain their dignity and health.

Marianne Khoury, artistic director of the festival, said: “Our commitment to the ‘Window on Palestine’ program is not just a curatorial choice; it is a fundamental part of our mission as a festival in the region.

“Cinema has a profound power to document and to heal, and it is our duty to provide a space where the world can witness the incredible resilience and artistry of the Palestinian people.”


US comedian Andrew Schulz delivers a stellar Dubai debut

US comedian Andrew Schulz delivers a stellar Dubai debut
Updated 08 October 2025

US comedian Andrew Schulz delivers a stellar Dubai debut

US comedian Andrew Schulz delivers a stellar Dubai debut
  • The comedian is set to perform in Riyadh as a part of the comedy festival on Oct. 8

DUBAI: US comedian Andrew Schulz brought the house down during his Dubai debut at the Coca-Cola Arena on Tuesday night, delivering a high-energy set that left the crowd roaring with laughter from start to finish.

Following a successful show in Abu Dhabi in 2024, the comedian returned to the UAE accompanied by the co-hosts of his hit podcast Flagrant.

Opening for Schulz were Mark Gagnon, Akaash Singh, and Emirati comedian Abz Ali.

As part of the Dubai Comedy Festival, Schulz performed a classic American-style standup routine infused with his trademark self-deprecating humor.

And, to the audience’s delight, provided plenty of region-specific jokes about life in the UAE.

Unlike his Abu Dhabi show, this set leaned more toward sharp, quick-fire standup and crowd interaction rather than an overarching narrative, which had characterized his previous Life Tour performances.

From poking fun at Dubai’s traffic to riffing on the city’s obsession with Emaar buildings, Schulz showcased an impressive grasp of local culture and humor.

Throughout the night, his quick wit and spontaneous comebacks during audience interactions had the crowd in stitches.

To close the show, Schulz invited the rest of the lineup back on stage for a lighthearted Q&A segment, where they offered tongue-in-cheek advice.

With laughter, tears, and plenty of surprises, Schulz’s Dubai debut was a memorable addition to his growing list of UAE performances.

The comedian is set to perform in Riyadh as a part of the comedy festival on Oct. 8.


UK prosecutors to appeal dropped ‘terrorism’ case against Kneecap rapper

Moglai Bap and Mo Chara of Kneecap perform at Glastonbury Festival at Worthy Farm in Pilton, Somerset, Britain, June 28, 2025.
Moglai Bap and Mo Chara of Kneecap perform at Glastonbury Festival at Worthy Farm in Pilton, Somerset, Britain, June 28, 2025.
Updated 07 October 2025

UK prosecutors to appeal dropped ‘terrorism’ case against Kneecap rapper

Moglai Bap and Mo Chara of Kneecap perform at Glastonbury Festival at Worthy Farm in Pilton, Somerset, Britain, June 28, 2025.
  • O’Hanna, 27, had been charged under Britain’s terrorism laws for allegedly displaying a flag belonging to Hezbollah during a concert in November 2024
  • Case was thrown out by a London court last month after judge found there had been a technical error in the way the charge had been brought

LONDON: UK prosecutors Tuesday said they would appeal a court’s decision to drop a charge of supporting “terrorism” brought against a Northern Irish singer from punk rap group Kneecap.
“We are appealing the decision to dismiss this case as we believe there is an important point of law which needs to be clarified,” a Crown Prosecution Service spokesperson said, referring to the case against Liam O’Hanna, also known by his stage name Mo Chara.
O’Hanna, 27, had been charged under Britain’s terrorism laws for allegedly displaying a flag belonging to the banned Lebanese group Hezbollah during a concert in November 2024.
But the case was thrown out by a London court last month after a judge found there had been a technical error in the way the charge had been brought.
Kneecap said the decision to appeal was “unsurprising” and called it a “waste of taxpayers money” in a statement posted on social media, repeating claims that the case was a “witch-hunt against Palestinian solidarity.”
“We will fight you in your court again. We will win again,” the group added.
O’Hanna, named Liam Og O Hannaidh in Irish, was charged in May when a video emerged from a November concert in London in which he allegedly displayed the Hezbollah flag, an offense the singer has denied.
But chief magistrate Paul Goldspring found the charge was not brought by prosecutors within the legal time limit, rendering it “unlawful and null.”
The band, which sings in Irish and regularly leads chants in support of Gaza during performances, has had multiple concerts canceled internationally over its pro-Palestinian stance and other controversies.
Canada last month barred Kneecap from entering the country, citing the group’s alleged support for Hezbollah and Palestinian militant group Hamas.
But its performance in Paris went ahead in September despite objections from French Jewish groups and government officials. The group also played the vaunted Glastonbury Festival in southwest England in June.