
At Kashtat Amina, Mariam Almansoori serves up Emirati home cooking inspired by childhood memories
'It's the same one we used in our house in Abu Dhabi,' says chef Mariam Almansoori. 'Every day we used to boil the water and pour it into this big kettle with black tea with cardamom, cloves, sugar. The smell would fill the whole house.'
The kettle is now just inside the entrance of Kashtat Amina, Almansoori's newly opened restaurant in Sharjah's Aljada district, with its suburban walkways and lush greenery. There's no sign beside it. No curated description. Just the quiet suggestion that memory lives in objects as much as it does in taste.
For Almansoori, the decision to launch her first Emirati standalone restaurant – its name translates to 'Amina's picnic' after her mother – is more than a professional step. It's a homecoming. 'I had a lot of chances to open a restaurant before,' she says. 'But I always waited. I wanted it to be at the right time, in the right place, with the right meaning.'
That meaning comes through strongest in the food, which draws directly from Almansoori's childhood meals. Dishes such as keema hamsa (minced meat sauteed with tomatoes and onions), grilled jeder (lamb shank with tamarind sauce, basmati rice and nuts) and thareed (bread soaked in meat broth with vegetables) appear on the menu not as nostalgic flourishes, but as cultural inheritances.
'It's not only about the food,' she says. 'Lots of people come and say: 'Chef, can we take this home with us?' It's just a flower on the table, or a cushion, nothing big. But to me, it's full of love. It's my mother's hand in it. I still feel her, even when I'm serving strangers.'
Raised in Ras Al Khaimah, Almansoori grew up in a home with two kitchens – one run by her mother, the other often commandeered by her father – each guided by a distinct culinary philosophy that she learnt to absorb early on.
'If I ask mama how long to cook something, she never says minutes,' Almansoori says. 'She says: 'When the smell starts to change' or: 'When the rice starts to dance.' That's the kind of knowledge that stays with you.' Her father, also a skilled cook, brought a flair for presentation. 'He was all about hospitality,' she adds. 'He loved to garnish, while my mother didn't. They were always arguing about that.'
Kashtat Amina carries both impulses – the quiet intimacy of home cooking and the polish of a well-run kitchen – in its expert take on rustic Emirati staples.
The restaurant, bright and lined with woven baskets, with furniture and staff in indigo, is both modern and homely – and is full of local markers, from the kettle and old transistor radio to shelves of clay jars. A painting of Almansoori's mother Amina hangs proudly in the centre of the kitchen, her eyes warm in invitation.
One dish that carries particular weight is the chicken maragooga, a stewed chicken with vegetables and thin bread layers. 'This was always loved by the family and guests,' she says. 'The pot would come straight from the stove to the table and we would eat it immediately.'
That inherent sense of hospitality, so central to Emirati cuisine, is something she learnt from her mother.
'My mother used to make it when people came after the dhuhr prayer. It wasn't just food. It was the way she opened the house, welcomed people, showed care.'
Almansoori's other ventures – including the popular Montauk in Abu Dhabi's Yas Island, where Sri Lankan rice might be topped with slow-roasted ribs and cinnamon coconut cream served alongside Emirati majboos and an apple Danish – have long embraced reinterpretation. But this time, she wanted to move in the opposite direction. 'I wanted to stop mixing. No fusion,' she says. 'I wanted to go back. Bring things to their original taste. To say: this is what we had in our houses. This is how it was done.'
That backward glance, however, isn't about retreat. She speaks frequently about Emirati food as something underrepresented, not just internationally, but at home.
'If you go outside the UAE, you see restaurants from everywhere. You see Turkish, Lebanese, Japanese, but not Emirati. Even here in Sharjah or Dubai, how many restaurants are really doing Emirati cuisine? I don't mean owned by Emiratis. I mean the food.'
And she's intent on giving those local flavours a global platform, with Almansoori hoping Kashtat Amina will be recognised if the Michelin Guide extends its UAE presence to Sharjah.
'We want to be ready, because there is a guideline that Michelin follows – from using organic produce to changing the menu regularly,' she says. 'We try to update parts of the menu every three months, not just to change, but to keep enhancing and evolving. There's a lot we still need to do, but I think we're more than capable – because we're doing it for the right reasons.'
That desire to teach without diluting also informs her next venture: a culinary training academy for Emiratis as well as residents. 'I want to create a space where we train them from zero,' she says. 'Not just how to cook, but how to work in a kitchen, how to run a restaurant.
'I already have six or seven with me now. Some of them were not confident at first, but now they are leading the service. They are managing the guests. I'm so proud.'
When asked what makes a dish truly Emirati, she doesn't hesitate. 'It's not the ingredients or technique. It's when you know what each one means and why we why we use turmeric, when we add ghee, how much to stir the rice. It's not rules. It's memory.'
By the end of the visit, our own kettle of tea has gone cold. A young staff member moves to take it away, but she stops him. 'Leave it,' she says quietly. 'I just want to savour this moment a little more.'
Hashtags

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


Gulf Today
4 hours ago
- Gulf Today
Summons to summer with Ishara Art Foundation's ‘No Trespassing' show
'No Trespassing' marks Ishara Art Foundation's first summer exhibition (July 4 - Aug. 30). Curated by Priyanka Mehra, it channels the aesthetics of the streets into a white cube space. Six UAE-based and South Asian artists explore their relationship with the street, engaging with it as both subject and as a medium. Rather than attempting to define the street, the exhibition resists such definition, and more than a setting, the show is a collection of individual experiences that alternate between chaotic and orderly, gritty and beautiful, uninhibited and curated – much as street life. Mehra is Exhibitions Manager and Programmes Curator at the Foundation. Signposts, building materials, pavements, lights, street art, scrapheaps and human traces become inscriptions of a city's movement. 'No Trespassing' looks at the streets as a site of deconstruction and reinvention, continually shaping and being shaped by those who live in and pass through them. The exhibition explores what it means to speak of art in, on and from the street. The participating artists have created their works through on-site interventions, a kind of mark-making that mirrors the interaction of a city with its inhabitants. Upon entering the exhibition, the viewer encounters a large-scale mixed-media work by H11235 (Kiran Maharjan). As the artist was unable to be present on-site to create the piece, he explores the possibilities of mark-making from a distance. The work signals the void left by his absence. An abstraction of a digital rendering, which is presented opposite, the creation presents the architectural elements shown in the original, while incorporating locally sourced building materials such as corrugated metal and engineered wood. Questioning the life of humans and the built environment, it explores the impact of material surroundings on the psyche. At the far end of the gallery, Rami Farook carves out four square metres of the wall, revealing its hidden structure. Sara Alahbabi's installation. The act exposes the vulnerability of the white cube and prompts reflection on the ownership of art and space. The removed sections are offered as a gift to Ishara's founder and team – symbolising trust, transparency and connection. 'The work honours the Foundation's history, while inviting shared custodianship and care for its future,' says Farook. In the second gallery, Fatspatrol (Fathima Mohiuddin) presents 'The World Out There', consisting of what she calls 'scavenged' objects – discarded street signs, scraps of wood and posters – marked with drawings that extend beyond the mounted pieces and onto the surrounding wall. Adopting the persona of the flâneur – a lone figure who wanders through a city, observing and contemplating the urban landscape – she collects objects to rewrite their narratives using her own voice and language. For Fatspatrol, it is an act of reclaiming the street, which is systemically regulated, surveilled and commodified, according to her. It is a space where one is instructed to 'follow the signs', yet where new stories are continually being narrated, she notes. In an alcove is Sara Alahbabi's 'For a Better Modern Something', an installation that explores Abu Dhabi's evolving urban fabric. Cement blocks printed with maps are joined together with LED tube lights, creating a grid-like structure against the surface of the wall and floor. The work is the result of Alahbabi's use of walking as a methodology in her practice, to experience the streets as a pedestrian in a city dominated by a culture of driving. Travelling on foot reveals new aspects of Abu Dhabi's identity, in which connections flow between communities, revealing a potential for mutual understanding across cultural and economic boundaries emerges. Khaled Esguerra's installation, displayed in the third gallery, challenges ongoing efforts to conceal the disorderliness of urban centres. Detail from Sara Alahbabi's compositon. Titled 'Heritage Legacy Authentic', the work responds to the redevelopment of historic neighbourhoods, carried out with the promise of preserving heritage and authenticity. Tiled across the floor are sheets of copier paper, a medium often used for informal advertisements, printed with words drawn from the promotional messaging of these projects and masked with blank carbon paper. The work invites viewers to stomp on, kick, thrash, tear and skid over it; it gradually reveals the printed words. Serving as a canvas for Salma Dib, the surrounding walls are covered with layers of traces, lettering, fragments and textured elements. Inspired by the walls of Palestine, Jordan and Syria, the artwork transforms the gallery into a palimpsest of thoughts and ideas, inscribed by multiple authors over time. 'No Trespassing' invites audiences to step into a dialogue between the street and themselves, and reimagine how one moves through, and leaves his mark on, the spaces he inhabits. The exhibition is accompanied by physical and virtual tours, as well as educational and public programmes. It is supported by reframe. Priyanka Mehra has a background in design and has navigated diverse roles in the arts that include public art commissions in the UAE, urban regeneration programmes in India and conceptualising Public Art Masterplans in the KSA. She has worked on large-scale urban art festivals such as St+art Delhi and Public Art Commissions at Yas Bay, Abu Dhabi. Smita Prabhakar, Founder and Chairperson of Ishara Art Foundation, is an entrepreneur, collector and art patron who has been based in the UAE for over four decades. She is a member of the International Acquisitions Committee at Tate Modern (London), the Middle Eastern Circle of the Guggenheim Museum (New York), and the Peggy Guggenheim Collection (Venice). Sasha Altaf is the Director of Ishara Art Foundation.


UAE Moments
5 hours ago
- UAE Moments
Armani/Amal Unveils a Gastronomic Journey to the Coasts of South India with a Specially Curated Three-Course Dinner
Dubai, United Arab Emirates – Ju ly 2025: Armani/Amal, the celebrated Indian fine-dining destination nestled within the iconic Armani Hotel Dubai, Burj Khalifa, invites guests on a sensorial journey to the southern coasts of India. Discover the vibrant gastronomy of South Indian cuisine with a specially curated three-course set menu, available at AED 400 per person. Within the refined elegance of Armani/Amal, framed by the glittering skyline of Downtown Dubai, guests are welcomed into a world of heritage and haute cuisine. Meticulously crafted by Chef Rohit and his talented team of chefs, the set menu pays homage to the authentic flavours of southern India, brought to life with premium ingredients and time-honoured techniques. Guests begin their culinary voyage with a selection of expertly curated starters, including Baby Corn Bezule (crispy baby corn coated with ginger, curry leaf and chilli), Chemmeen Pollichathu (pan-seared prawn marinated with onion, tomato, curry leaf and mustard), Meen Karivepillai (coconut, curry leaf, ginger and green chilli-infused chargrilled sea bream), and Chicken 65 (chicken thigh cubes, chilli and rice flour crust, Malabar paratha). The main course features a soul-satisfying array of regional delicacies like Kori Gassi (Mangalorean-style chicken curry with coconut, coriander and dry chilli), Lamb Pepper Fry (lamb pepper masala, coconut chutney, dosa), Andhra Fish Curry (sea bass fillet poached in raw mango coastal-style curry), Broccolini & Asparagus Poriyal (stir-fried broccolini, asparagus and cashew nuts with fresh coconut), and Sambhar (South Indian lentil stew with vegetables, tamarind and dry spices). The journey concludes on a sweet and wholesome note with Adapradam (traditional rice pudding sweetened with jaggery and finished with coconut and cashews), a simple yet irresistibly comforting finale. Whether you're gathering with friends or marking a special occasion, this thoughtfully curated menu at Armani/Amal promises a delicious journey through the southern coasts of India, served with warmth, soul, and signature Armani elegance right in the heart of Dubai.


Harpers Bazaar Arabia
6 hours ago
- Harpers Bazaar Arabia
Galeries Lafayette Dubai Makes Indulgence the Season's Best Accessory
Because sometimes, the most tasteful thing you can do is take your time. If you're looking for a reason to spend a little extra time at The Dubai Mall this summer, Galeries Lafayette just gave you one. The iconic department store has launched Tasteful, a multi-sensory in-store campaign that runs until the end of July – and it's as stylish as it is smartly curated. Designed to celebrate the art of indulgence, Tasteful is about taking a moment to enjoy the finer things – whether that's discovering a new signature scent, investing in a standout piece for the season, or slowing down for lunch somewhere that actually feels worth it. With surreal visual installations, experiential beauty stations, and personal styling zones dotted throughout the space, the campaign invites visitors to explore fashion, fragrance, and food in a way that feels fresh and effortless. The fashion edit is a highlight. Think Marni, Coperni, Cult Gaia, Ganni and more – designers who know how to strike the balance between directional and wearable. It's not about head-to-toe looks, it's about mixing and matching standout pieces that speak to your personal style. From oversized silhouettes to structured tailoring, the focus is on confidence and individuality. Beauty lovers won't be left behind either. The fragrance and skincare selection spans everything from cult favourites like Kilian, Fugazzi, and Maison Crivelli to the newly launched Prada Beauty. It's less about the hard sell, more about playful discovery – and the kind of in-store experience that reminds you why beauty shopping used to be fun. Of course, all of this is best enjoyed with a break in between. That's where Le Gourmet comes in, Galeries Lafayette's dedicated food hall on the second floor. It's the kind of space that makes it easy to turn a quick shop into a full-day affair before hitting the next edit. Even the practical details have been thought through. With digital gift cards and same-day delivery available across the UAE, Galeries Lafayette makes it easy to shop on your own terms whether you're browsing in-store or sending a last-minute gift to someone else. If you're after an excuse to treat yourself this season – this is it.