
A new arts festival is gracing Bluewaters Island this April
It's art season in Dubai, and there's so much to do to keep you culture vulture busy. The usual festivals may already be in your calendar, but take note of this new arts festival taking place in Dubai: the Bluewaters Art Festival.
Taking place at Bluewaters Dubai, the nine-day art festival will add a splash of colour to the city's prominent waterfront destination. It is set to take place starting this weekend, from April 12 to 20, 2025. The Bluewaters Art Festival will centre around the theme 'Reconnect', and will feature over 20 awe-inspiring murals, interactive installations, live performances, and hands-on workshops.
It takes place under the night sky, essentially turning Bluewaters Dubai into a vibrant open-air gallery. The festival will run from 4pm to midnight – so you don't have to worry about burning your skin exploring under the sun.
The works of art at the festival are creations by 23 visionary artists from the UAE, Türkiye, New York, the UK, and beyond. The festival aims to bridge cultures, generations, and perspectives, showcasing art as a shared visual language through dynamic installations, thought-provoking sculptures, and sensory experiences.
Expect striking murals, intricate fabric installations, and large-scale inflatable art. For a more immersive experience, visitors can explore installations, and there are thought-provoking outdoor sculptures, too.
You will also find a number of indoor exhibits dotted across the island, allowing you to truly explore everything Bluewaters Dubai has to offer. One not to miss includes Kanvas Room, where you will be amazed by the dynamic light installations and interactive immersive art.
A curated gallery experience will spotlight the works of seven featured artists, including Areen Hassan, whose sensory installations reflect her Palestinian heritage, and Kaveh Ahanger, whose digital murals and string art will create visually stunning connections between Bluewaters' structures.
Want to get creative yourself? There are a number of hands-on workshops that both the kids and adults can partake in. This includes fluid art, tote bag painting, shadow cutting, and more. To partake in the workshops, all you need to do is spend Dhs150 or more at any Bluewaters venue and present their receipt at the entrance. Do note, you can't book spots as it's on a first-come, first-served basis.
Additionally, there will be immersive art talks and live performances. And don't forget, you can enjoy a bite to eat at one of the very many restaurants at the venue.
Handy tip: Don't forget to pick up a handy booklet map at the venue that highlights all the festival locations and key installations.
Stay up to date with the latest on @BluewatersDubai
Images: Supplied
> Sign up for FREE to get exclusive updates that you are interested in
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Middle East Eye
6 hours ago
- Middle East Eye
Ziad Rahbani: A musical genius connected to his people
This week, mourning crowds gathered outside Khoury Hospital in Beirut's Hamra neighbourhood to bid a final farewell to the iconic and much-adored Lebanese composer, pianist and playwright Ziad Rahbani, who passed away at just 69. Rahbani reportedly chose not to undergo a liver transplant, following months of hesitation over the treatment of his deteriorating health. The crowd - many dressed in black, clutching roses, a few Palestinian and Lebanese Communist party flags and some holding up Ziad's portrait - spontaneously broke into a solemn chant of Saalouni el Nass (People Asked Me). It was the first song Ziad ever composed for his mother, Fairuz, written when he was just 17. As the hearse carrying his body departed for his funeral in Bikfaya, the mourners erupted into applause and whistles - as if this was Ziad's final play, the curtains closing on a remarkable and unrepeatable chapter of artistic authenticity, social and political rebellion and intellectual brilliance. When asked by a reporter "What did Lebanon lose today?", Talal Haider, the great Lebanese poet and close friend of Ziad, poignantly replied "Lebanon lost itself". New MEE newsletter: Jerusalem Dispatch Sign up to get the latest insights and analysis on Israel-Palestine, alongside Turkey Unpacked and other MEE newsletters Comrade Ziad At a young age, on the cusp of the Lebanese civil war, Ziad left East Beirut where his family were living, to settle in Hamra, choosing to live at the heart of Lebanon's pro-Palestinian leftist movements and communist party, among his comrades and friends. Hamra was the neighbourhood where Ziad spent most of his life. His home and famous recording studio, Nota, were there. His historic plays - that shaped Lebanon's daily life, people's consciousness, sarcasm and vocabulary for decades - were first staged in its theatres such as Piccadilly. There's not a single house in Lebanon that Ziad wasn't present in. His work touched everyone, even those who were against him politically And he played countless concerts in the neighbourhood's small jazz clubs and hotel bars, like Blue Note and the Cavalier. Since the 1970s until today, his music has been played on a daily basis in Hamra's bars and cafes - many of them once his regular hangouts. And on Monday, he left Hamra forever. This was the people's funeral for Ziad Rahbani, known affectionately as Comrade Ziad. The huge crowd that filled the streets included his friends, neighbours, comrades, actors, musicians, writers and poets from across Lebanese society. And of course, his fans - an entire generation raised on his music and plays. There's not a single house in Lebanon that Ziad wasn't present in. His work touched everyone, even those who were against him politically would secretly listen to his music. Ziad may have been a cultural icon and visionary, but he lived modestly, among the people and his community. Ziad's socially realist and politically charged plays from the 1970s to the 1990s spoke to a whole generation and brought him national acclaim. While he had previously contributed music to the plays of his father and uncle - the monumental artistic duo known as the Rahbani Brothers - on productions such as Al Mahatta (The Station, 1973) and Mais El Rim (1975), Ziad quickly carved out his own distinct identity as a playwright, director and actor. Lebanese musician Ziad Rahbani playing the piano, the instrument that has shaped most of his compositions since his first ventures in the early 1970s (AFP) His second play, Nazel el Surour (The Happiness Hotel, 1973), written when he was just 18, marked a turning point in modern Arabic theatre. A bold political satire - often said to have predicted the civil war - it tackled themes of corruption, class inequality and poked fun at failed revolutionary ideals. In Bennesbeh Labokra… Chou? (What About Tomorrow?), Ziad focused his attention on the struggles of Lebanon's working class and their everyday hardships. Ziad's plays combined deep and complex subject matter with a dark fatalistic humour that dissected Lebanese society And in Film Ameriki Tawwil (The American Motion Picture), inspired by One Flew Over the Cuckoo's Nest - he explored sectarianism and the division and despair it brought, criticising its discourse and exposing the banality of it in the middle of the Lebanese civil war. Ziad's plays - listened to religiously throughout the war and until today - combined deep and complex subject matter with a dark, fatalistic humour that dissected Lebanese society. They captured the absurdity and doomed reality of life in Lebanon under sectarian politics, class divides and war - themes that sadly have not lost their relevance today. The songs he composed for them - set to lush soundscapes with influences ranging from Brazilian, soul, funk, jazz and dabke - revealed his encyclopedic knowledge of music, and genius ability in arranging and composing, and fusing different styles and genres. The father of 'Oriental jazz' Ziad's timeless soundtracks came to define the sound of the leftist movement, and jokes and phrases from the plays seeped into everyday conversation, becoming part of the cultural fabric. His work was a guiding force in Lebanon's political consciousness. He shaped the leftist movements that he was part of with his ideas, radio shows, writings and music. Elias Rahbani: Eleven tracks that defined Lebanese musician's life and legacy Read More » Ziad's contribution to Lebanese and Arabic music was revolutionary - laying new foundations for its modernisation. He created his own musical world, always innovating and coming out with pioneering ideas that resulted in forward-thinking waves of music. He was a musical genius who was able to create his own distinct sound and identity, completely separate from the shadow of the Rahbani Brothers - his father Assi and uncle Mansour Rahbani - and his mother, Fairuz, who dominated the Lebanese music industry for decades. As an artist, his musical offering was difficult to categorise and define - elegant and complex yet subtle, gritty and experimental yet accessible, and never lacking in originality. Across his career, he covered the full spectrum of styles, from the Rahbani Brothers' classical sound to unusual bellydance records, Arabic jazz, funk, disco and soul to tarab, dabke, Brazilian, Latin and political protest music. He took elements of the genres he loved to compose new chapters in Arabic music that were distinctly Ziad. A true musical maverick, he was able to present his ideas in a way that immediately connected to his people. Ziad Rahbani was the father of 'Oriental jazz', the term he used (and later critiqued) when he fused Arabic and jazz music over several projects such as Houdou Nisbi and Behashakal, the sound later becoming part of his musical identity. While the greats of Arabic music had long brought a variety of international influences into their music, Ziad's contribution left an undeniable mark on contemporary Arabic music. We can trace the beginnings of Oriental jazz to Abu Ali - the 13-minute masterpiece, an Arabic jazz-funk instrumental version of the introduction for his 1974 play Abu Ali Al Asmarani. It was recorded in Athens with the 35-piece symphony orchestra of Greek radio at great cost, and released on the small and innovative independent label Zida run by Lebanese-Armenian producer Khatchik Mardirian, which put out all of Ziad's creative output for two years. Ziad even flew out members of his inner circle to be involved in the project, including the actor and singer Joseph Sakr, his close friend and longtime collaborator, and two members of the cult politically engaged group Firkat Al Ard, who he was working with at the time - guitarist Issam Hajali and jazz saxophonist and composer Toufic Farroukh. Ziad's productions brought Fairuz closer to the people, reshaping her sound for a rapidly changing Lebanon and wider Arab world Aimed at the global disco market, Abu Ali didn't break internationally at the time of its release in 1979, but the record displays Ziad's immense talent as a composer, and his perfectionism - sometimes to the point of obsession - when it came to instrumentation and arrangement. As Hajali told us in a previous interview about Abu Ali, "[Ziad] wrote everything. Nothing was accidental, everything was written, even the whisper". Forty years later, it has become a cult record, played on international radio stations and in the global underground clubbing scene. On the same trip to Greece, the music for Fairuz's 1979 album Wahdon was recorded. Also released on Zida, it was a landmark release for the iconic singer - the first to be entirely produced, composed and arranged by her son. Ziad's collaboration with Fairuz spanned decades. He revolutionised her sound, modernising it for a new generation and bringing a multitude of influences, from jazz and Brazilian, to her music across albums like Kifak Inta?, Maarifti Feek and Wala Keef?. Lebanese diva Fairuz (C) talks to her son, composer Ziad Rahbani (R), and Armenian conductor Karen Durgarian during rehearsals prior to their Dubai concert on 23 January 2003 (AFP) This transformation of Fairuz's musical style - paired with bold lyrics - was initially controversial to some across the Arabic-speaking world. It marked a sharp departure from the romantic folkloric style and weighty poetic lyricism that had defined the Rahbani Brothers' work, where Fairuz was positioned as the ethereal voice of a fictionalised ideal of Lebanon - elevating her to an untouchable sacred figure. Ziad's productions brought Fairuz closer to the people, reshaping her sound for a rapidly changing Lebanon and wider Arab world, and placing her as a modern evolving artist, rather than a nostalgic and static symbol to the past. Raw and uncompromising Ziad lived his life and made music in unwavering alignment with his vision and ideals - always raw and uncompromising. Ziad wasn't just a cultural giant, he was a lexicon, a mood, a feeling, at the very crux of Lebanese identity He kept a strong political and social consciousness to his work throughout his career, fighting against all forms of commercialism, consumerism and capitalism in music and society. He was deeply involved in Lebanon's political life, expressing strong - and often controversial - opinions about what was happening in the country and regionally through his articles, music, radio shows and interviews. His opinions, political analyses and cutting humour made reverberations throughout Lebanese society - even among his political opponents. Ziad didn't do things in half measures. Music and politics were his only worries. He lived a free life, on his own terms, and left the same way. But he wasn't just a cultural giant, Ziad was a lexicon, a mood, a feeling, at the very crux of Lebanese identity. With his death, his legend and the legacy he left behind will live on. The views expressed in this article belong to the author and do not necessarily reflect the editorial policy of Middle East Eye.


FACT
10 hours ago
- FACT
Palestine 36 will premiere at the Toronto International Film Festival
Palestine 36 was created by the filmmaker Annemarie Jacir. Palestinian auteur Annemarie Jacir makes a powerful return to narrative cinema with the world premiere of Palestine 36, a historical drama set during the turmoil of 1936 Mandatory Palestine. Palestine 36 will premiere with a gala screening during the opening weekend of the Toronto International Film Festival on 5 September. The film weaves personal struggle with political resistance. The story focuses on the Arab revolt against British colonial rule, and marks a bold new chapter in Jacir's career. The story focuses on the young Palestinian boy, Yusuf, torn between his rural homeland and the charged atmosphere of Jerusalem. Plus, Jewish immigrants escaping fascist Europe arrive and the region teeters on the brink of mass unrest. With deep historical resonance, the film immerses the audience in a defining chapter of Arab resistance. It structures individual stories within the sweeping tide of history. The ensemble cast is anchored by award-winning veterans such as Jeremy Irons and Hiam Abbass. Plus, Liam Cunningham, Dhafer L'Abidine, Yasmine Al Massri, Kamel El Basha, and long-time Jacir muse Saleh Bakri. Creators include cinematographer Hélène Louvart, and produced by Ossama Bawardi and Philistine Films. It is an international co-production spanning Palestine, the UK, France, Denmark, Qatar, Saudi Arabia, and Jordan. Jacir is a celebrated filmmakers in the Arab world. She has previously premiered her features at Cannes, Venice, Berlin, and Toronto. Her earlier films, Salt of This Sea, When I Saw You, and Wajib, were Palestine's submissions to the Oscars. Go: Visit for more information.


Broadcast Pro
a day ago
- Broadcast Pro
Annemarie Jacir's ‘Palestine 36' to premiere as Gala Screening at TIFF 2025
Palestinian filmmaker and writer Annemarie Jacir's 'Palestine 36' will have its world premiere as a Gala Screening at the 2025 Toronto International Film Festival (TIFF) Palestinian filmmaker and writer Annemarie Jacir's feature Palestine 36 will make its world premiere as a Gala Screening at the 2025 Toronto International Film Festival (TIFF). Set on the outskirts of Jerusalem, the film unfolds during the Arab uprising against British colonial rule in 1936, capturing a pivotal and turbulent moment in regional history. The story follows Yusuf, a young man caught between his rural village and the growing tensions of Jerusalem. As unrest intensifies across Mandatory Palestine, he finds himself yearning for a future beyond the mounting chaos. Against the backdrop of increasing Jewish immigration to Palestine from Europe and the largest Palestinian uprising against British dominion, the film portrays a rapidly escalating conflict that would go on to shape the fate of the British Empire and the region's future. Palestine 36 features a distinguished ensemble cast that includes Jeremy Irons, Liam Cunningham and Tunisian actor Dhafer L'Abidine. They are joined by celebrated Palestinian actors Hiam Abbass, Yasmine Al-Massri, Kamel El Basha and Saleh Bakri, adding depth and authenticity to the portrayal of the era. Written and directed by Jacir, the film marks her return to narrative cinema following acclaimed works such as Salt of the Sea, When I Saw You, Wajib and episodes of the series Ramy. Developed over several years, including during the pandemic, Palestine 36 is a deeply personal and political exploration of identity, memory and resistance. The film is produced by Ossama Bawardi for Philistine Films, with a strong lineup of international co-producers including Cat Villiers, Hani Farsi, and Nils Åstrand of Corniche Media in the UK, Olivier Barbier for France's MK Productions, Katrin Pors for Denmark's Snowglobe, and producers Azzam Fakhrildin and Hamza Ali. Financing came from a diverse range of supporters, notably including Red Sea Film Fund and Qatar's Katara Studios. Katara Studios played a central role in the project, backing it from development through post-production, and commissioning the film's evocative original score, performed by the Qatar Philharmonic Orchestra. With its world premiere at TIFF, Palestine 36 not only signals Jacir's return to the global festival stage but also brings Palestinian narratives to the forefront of international cinema with renewed urgency and resonance.