LuLu Hypermarket launches Mango Mania 2025, offers over 70 global varieties
KUWAIT: LuLu Hypermarkets in Kuwait are awash with the enticing aroma of mangoes as the hypermarket launched its much-anticipated Mango Mania 2025 promotion, offering more than 70 varieties of mangoes from nearly a dozen countries. The week-long promotion, which was inaugurated on May 1 at the Al-Qurain outlet of the hypermarket by renowned Kuwaiti culinary personality and leading Arabic food influencer, Abdullah Almatrood along with top LuLu Kuwait management, promises an immersive tropical experience for shoppers of all ages.
Designed to showcase the diversity and richness of one of the world's most loved fruits, Mango Mania 2025 promotion, which runs until May 7, combines exotic mangoes, special offers, culinary creativity, and community engagement. One of the standout highlights of this year's Mango Mania is the debut of the Miyazaki India mango. Known globally as one of the richest and rarest mangoes, the Miyazaki is originally from Japan but is now increasingly grown in India. This premium variety will be available at LuLu Qurain outlet in Kuwait throughout the promotion.
Shoppers can also expect attractive discounts on all mangoes, including renowned types such as Alphonso, Badami, Mallika, Totapuri, Rajapuri, and the lesser-known, but nonetheless superb Yemen Galpatur. Mango Mania extends far beyond the produce section. A wide range of mango-based products and dishes will be on offer, including juices, smoothies, halwa, payasam, salads, curries, pickles, and desserts such as mango mousse cakes, trifles, tarts, pastries, muffins, and even Mango Swiss rolls. These additions not only cater to mango lovers but also offer an opportunity to explore the fruit in diverse creative, culinary forms.
Adding to the festive atmosphere of the promotion are interactive displays, including mango-themed cut-outs, a selfie booth, and specially curated decor installations. The event will also feature a series of engaging activities, such as live cooking demonstrations by chefs preparing mango-infused dishes, free sampling stations, and mango-themed games and puzzles. Families visiting the stores can look forward to children's competitions, including a mango-themed painting contest, encouraging young participants to celebrate the season's star fruit through art and imagination.
With Mango Mania 2025, LuLu Hypermarket reaffirms its commitment to bringing international foods and products at attractive prices, while also providing an exciting and interactive shopping experience for shoppers in Kuwait. As summer approaches, the mango-licious celebration offers a refreshing reminder of the fruit's global appeal and cultural significance.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Kuwait Times
2 days ago
- Kuwait Times
In Cairo, the little indie cinema that could
In the heart of Cairo, a small cinema has for over a decade offered a unique space for independent film in a country whose industry is largely dominated by commercial considerations. Zawya, meaning "perspective" in Arabic, has weathered the storm of Egypt's economic upheavals, championing a more artistic approach from the historical heart of the country's golden age of cinema. Zawya was born in the post-revolutionary artistic fervour of the 2011 uprising that toppled longtime president Hosni Mubarak. "There was this energy where people wanted to produce and create, not just in cinema, but in all the arts, you could feel it," said Zawya founder Youssef Shazli. In the time since, it has escaped a wave of closures -- some forced -- of art centers across the capital. Egypt had long been known as the Hollywood of the Arab world, but in the decades since its mid-century heyday, the domestic industry has largely been restricted to crowd-pleasing blockbusters. "It's often said that we're lucky to have a large film industry, with infrastructure already in place," said filmmaker Maged Nader. "But the truth is this industry operates solely on a commercial logic," leaving little room for independent filmmakers, he added. Yet Zawya has survived in its niche, in part due to the relative financial stability afforded to it by its parent company Misr International Films. Founded in 1972 by Egyptian cinematic giant Youssef Chahine -- Shazli's great uncle -- the company continues to produce and distribute films. People arrive at the Zawya cinema in downtown Cairo. A man walks outside the Zawya cinema in downtown Cairo.--AFP photos Young talent For Shazli, Zawya is "a cinema for films that don't fit into traditional theatres". But for young cinephiles like 24-year-old actress Lujain, "it feels like home," she told AFP as she joined a winding queue into the larger of Zawya's two theatres. Since 2014, Zawya's year-round programming -- including both local and international short films, documentaries and feature films -- has secured the loyalty of a small but passionate scene. Its annual short film festival, held every spring, has become a vital space for up-and-coming directors trying to break through a system that leaves little room for experimentation. "I didn't even consider myself a filmmaker until Zawya screened my short," said Michael Samuel, 24, who works in advertising but says the cinema rekindled his artistic ambition. For many, that validation keeps them going. "Zawya has encouraged more people to produce these films because they finally have somewhere to be seen," said the cinema's manager, Mohamed Said. When Mostafa Gerbeii, a self-taught filmmaker, was looking for a set for his first film shoot, he also turned to the cinema. Without a studio or a budget, Zawya "just lent us their hall for free for a whole day", he said, saving the young director 100,000 Egyptian pounds (around $2,000) to rent a location. The heir The light of its marquee spilling onto downtown Cairo's Emad al-Din Street, Zawya is the 21st-century heir to a long artistic tradition that still lingers, though often hidden away in corners of the district's broad avenues. "It's a unique neighborhood with an equally unique flavor of artistic and intellectual life," said Chihab El Khachab, a professor at the University of Oxford and author of the book "Making Film in Egypt". Starting in the late 19th century, the area was home to the city's biggest theatres and cabarets, launching the careers of the Arab world's most celebrated singers and actors. Today, its arteries flowing out of Tahrir square -- the heart of the 2011 uprising -- the neighborhood is home to new-age coworking spaces and galleries, side by side with century-old theatres and bars. Yet even as it withstands the hegemony of mall multiplexes, Zawya cannot escape Egypt's pervasive censorship laws. Like every cinema in Egypt, each film must pass through a state censors before screening. "Over time, you learn to predict what will slide and what won't," Shazli said. But even the censors' scissors have failed to cut off the stream of ambition among burgeoning filmmakers. "Around Zawya, there's a lot of talent -- in every corner," Shazli said. "But what I wonder is: are there as many opportunities as there is talent? That's the real issue we need to address." - AFP
Kuwait Times
4 days ago
- Kuwait Times
Kuwait's ‘Visionary Lighthouse' draws crowds at Expo 2025
OSAKA: Kuwait's pavilion at Expo 2025 Osaka, Japan — dubbed the Visionary Lighthouse — has been attracting long daily queues since opening, thanks to its captivating blend of heritage and innovation. The pavilion showcases Kuwait as a country where tradition and progress coexist, using culture as a bridge for dialogue and understanding. Visitors journey through Kuwait's past, present, and future across two levels. The first floor explores the nation's rich heritage and traditions, while the second presents its aspirations through cutting-edge technology. Four exhibition halls use immersive features and AI to bring these stories to life. At the heart of the pavilion lies The Pearl, a symbolic space honoring Kuwait's historic pearl-diving legacy. A video circulating on social media, showing visitors interacting with Kuwaiti desert sand inside the pavilion, has helped drive interest. 'We saw the clip and came to try it ourselves — it looked fun,' said two young women waiting in line. A visiting family described the experience as magical: 'The planetarium felt like lying under the stars in the desert... We hope to return.' OSAKA: Visitors enjoy the different attractions at Kuwait's pavilion at Expo 2025 Osaka, Japan. — KUNA photos On Friday, a Kuwaiti folklore troupe energized the stage in celebration of the visit by His Highness the Crown Prince Sheikh Sabah Al-Khaled Al-Hamad Al-Sabah. A group of five women told KUNA they loved the performance. 'Kuwaiti music is so rhythmic and beautiful,' one said. 'We didn't know much about Kuwait, but the music created a sense of connection,' added another. Minister of Information and Culture Abdulrahman Al-Mutairi said the pavilion offers a rich, multidimensional experience. 'It reflects Kuwait's future ambitions while honoring its authentic identity — a blend of cultural openness and deeply rooted values,' he told KUNA. Expo 2025 Osaka runs from April 13 to October 13 on Yumeshima Island under the theme Designing Future Society for Our Lives, with sub-themes including Saving Lives, Empowering Lives, and Connecting Lives. The expo focuses on innovation, sustainability, and cultural exchange, with around 160 countries and nine international organizations participating. More than 28 million visitors are expected. Kuwait's participation continues a historic legacy — it was one of just four Arab nations represented at Expo Osaka 1970, the first world expo held in Japan, which drew over 64 million visitors. — KUNA
Kuwait Times
5 days ago
- Kuwait Times
Memory, belonging and the power of storytelling
In a literary landscape often dominated by narratives from elsewhere, Mai Al-Nakib has emerged as a distinctly original and resonant voice from the Gulf. A Kuwaiti writer and academic, Al-Nakib bridges the personal and the political, the local and the global, with rare finesse. With a PhD in postcolonial studies from Brown University and two decades of teaching English and comparative literature at Kuwait University, her scholarly foundation is as formidable as her creative one. Her debut short story collection, 'The Hidden Light of Objects', earned international acclaim and won the Edinburgh International Book Festival's First Book Award. Her novel, 'An Unlasting Home', is an ambitious and layered exploration of identity, memory and the impermanence of belonging — an urgent meditation in today's increasingly fragmented world. In this interview with Kuwait Times, Al-Nakib opens up about her early discovery of storytelling, the intellectual traditions that shaped her voice and the creative architecture behind her fiction. As she prepares to reintroduce 'The Hidden Light of Objects' to a new generation of readers, we delve into the themes that define her work: Displacement, legacy, language and the ever-elusive idea of home. Kuwait Times: When did you first realize you wanted to become a writer? Mai Al-Nakib: I've always been a voracious reader, and there came a point — around the age of nine — when I realized that I, too, could make words do interesting, unusual, even powerful things. I started keeping a diary, writing everything down. But more than simply recording daily events, I began narrating them — turning them into first-person tales, with dialogue, description and plot. That was the start of my writing life, and it never stopped. Mai Al-Nakib KT: Why did you choose fiction — specifically short stories and novels — as your medium of expression? Al-Nakib: Fiction allows writers to invent and imagine alternatives to the present and makes it possible for readers to inhabit versions of life other than their own. This experience can remind us of our shared humanity. Short stories and novels each do this differently, but both offer powerful ways to experiment with possibilities and connect with others. KT: Which writers or thinkers have most influenced your voice and worldview as a storyteller? Al-Nakib: Literary writers who shaped me early on include Kundera, Kafka, Anais Nin, Rushdie, Joyce and Marquez. In my early twenties, it was Woolf, Beckett, Proust, Assia Djebar and Kanafani. Philosophers and intellectuals who influenced me include Bergson, Deleuze, Barthes, Spinoza, Nietzsche, Benjamin and Edward Said. These — and many others — have made me the person I am. KT: What does home mean to you? Do you feel rooted in a particular place, or does your sense of belonging shift with time and context? Al-Nakib: I recently wrote an essay on exactly this question titled 'Home Is Elsewhere: On the Fictions of Return', published in The Markaz Review. For some of us, the notion of home is a moving target, changing over time. For far too many, the physical persistence of home is not guaranteed. It can disappear overnight. How we respond in the face of such precarity determines our sense of home. For me, home has to do with the people I love and my sense of care for others and for our planet. What else is there? KT: How does 'An Unlasting Home' explore the idea of belonging through family, memory and identity? Al-Nakib: As the title suggests — and as is the case for most of the characters in the novel — homes can sometimes be unlasting. As a result, we may be forced to reckon with a sense of displacement and not belonging. There can be value in this, difficult as it is. The protagonist, Sara, is who she is because of the women who came before her. Their pasts are mirrored in her present. In her quest to reconnect with her geographical and genetic inheritance, Sara weaves their memories and experiences together and comes to better understand her own fraught relationship to home. KT: What were the biggest challenges you faced — creatively and logistically — when writing and publishing this novel, especially considering its themes and scope? Al-Nakib: The biggest challenge in writing 'An Unlasting Home' was figuring out the best form to accommodate the sprawl of the story: Seven women, many family lines, various places, different historical periods and so on. Once I decided to divide the novel into three parts, narrated polyphonically and shifting between past and present, I had found the solution. In terms of publication, I was lucky to have interest from publishers in the US and UK. KT: You're republishing 'The Hidden Light of Objects' — can you share the story behind its original creation and why you decided to bring it back now? Al-Nakib: 'The Hidden Light of Objects' was published by Bloomsbury Qatar Foundation in 2014. It won the Edinburgh International Book Festival's First Book Award that year. After Bloomsbury UK and Qatar Foundation dissolved their publishing agreement, my book went out of print. Happily, Saqi Books — who also published 'An Unlasting Home' in the UK — decided to republish 'The Hidden Light of Objects'. It will be released on June 5th with a beautiful new cover. I'm thrilled to have this book out in the world again. The stories — set mainly in the Middle East and focused on quiet, overlooked moments in a region often overwhelmed by geopolitics — remain timely.
