Egypt announces ‘major discoveries’ at Saqqara archaeological site
Egypt announces ‘major discoveries’ at Saqqara archaeological site/node/1794106/lifestyle
Egypt announces ‘major discoveries’ at Saqqara archaeological site
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Egyptian archaeologist Zahi Hawass stands at the excavation site of the funerary temple of Queen Nearit on Sunday, Jan. 17, 2021, in Saqqara, south of Cairo, Egypt. (AP)
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The excavation site of the funerary temple of Queen Nearit is pictured on Sunday, Jan. 17, 2021, in Saqqara, south of Cairo, Egypt. (AP)
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The excavation site of the funerary temple of Queen Nearit can be seen in Saqqara, south of Cairo, Egypt, Sunday, Jan. 17, 2021. (AP)
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Archeologists work at the excavation site of the funerary temple of Queen Nearit in Saqqara, south of Cairo, Egypt, Sunday, Jan. 17, 2021. (AP)
Egypt announces ‘major discoveries’ at Saqqara archaeological site
Egyptian archaeologist says discoveries will rewrite history of region
Updated 17 January 2021
Mohammed Abu Zaid
CAIRO: An Egyptian archaeological mission working in the Saqqara area near the pyramids of Giza in Egypt has discovered dozens of archeological finds, including a Pharaonic funerary temple.
The Egyptian Supreme Council of Antiquities announced that the discoveries — made by the joint mission between the council and the Zahi Hawass Center of Egyptology — include wooden wells and coffins from the New Kingdom, dating back to 3000 B.C.
Mostafa Waziri, secretary-general of the council, said that the discoveries are located at the Saqqara necropolis, near the pyramid where King Teti, the first king of the Sixth Dynasty of the Old Kingdom, who ruled Egypt between 2323 and 2291 B.C., is buried.
Zahi Hawass, Egyptian archaeologist and head of the mission, said that these discoveries will rewrite the history of the region, especially during the 18th and 19th Dynasties of the New Kingdom, during which time King Teti was worshiped.
Hawass said that the mission found the funerary temple of Queen Nearit, wife of King Teti, part of which was uncovered in the years prior to the mission, as well as three mud-brick warehouses on the southeastern side, used to store offerings and tools that were involved in a revival of the queen’s creed.
The mission also discovered 52 wells, ranging in depths between 10 to 12 meters and containing more than 50 wooden coffins from the New Kingdom era. This is the first time that coffins dating back to 3000 B.C. have been found in the Saqqara area.
The surfaces of the coffins depict various scenes involving the gods who were worshipped during this period, in addition to texts from the Book of the Dead that help the deceased pass on to the other world.
Inside the wells, the mission found numerous artifacts, such as statues of the deity Ptah, as well as a four-meter-long papyrus, representing chapter 17 from the Book of the Dead, with the name of its owner recorded on it. The same name was found on four statues.
Other finds included a set of wooden masks; games for the deceased to play in the other world, one of which is similar to chess; and statues and a shrine of Anubis, the god of death.
The mission also discovered a bronze ax, indicating that its owner was one of the leaders of the army in the New Kingdom era, and paintings inscribed with scenes of the deceased and his wife and hieroglyphic writings.
A large amount of pottery dating back to the New Kingdom was found, including pottery establishing trade relations between Egypt and Crete, as well as Syria and Palestine.
Hawass explained that this discovery confirms that the Saqqara antiquities area was not used for burial during the Late Period only, but also in the New Kingdom.
The mission studied the mummy of a woman who was found to be suffering from a disease known as Mediterranean fever or swine fever, which comes from direct contact with an animal and leads to a liver abscess.
Hawass asserted that the archeological discovery is one of the most significant ones of this year and will make Saqqara an important tourist and cultural destination. It will rewrite the history of Saqqara in the era of the New Kingdom and will confirm the importance of the worship of King Teti during the 19th Dynasty.
DUBAI: The Toronto Arab Film Festival, running from June 20- 29, screened the scathing yet poignant Lebanese film “Arze,” directed by Mira Shabib.
The ambitious “Arze” — which means "cedar" in Arabic — follows the story of Arze, a single mother supporting her teenage son and love-struck sister through a homemade pie delivery business. In an effort to improve their lives, she steals and sells her sister’s jewelry to buy a scooter for her son to use for deliveries. But when the scooter is stolen, mother and son embark on a frantic journey across Beirut to recover it.
On the surface, “Arze” tells a story that resonates deeply with many Lebanese families caught in financial limbo. It explores the emotional toll of such hardship, with questions arising as to whether one should leave the country or give up remnants of a once-comfortable life to survive Lebanon’s shifting socio-economic landscape.
Beneath the family drama lies sharp satire. Even the film’s title that references the cedar tree, a national symbol of Lebanese identity, carries layered meaning. Like the character herself, that identity appears fragmented, constantly lost amid the country’s sectarian divides. This is where the film truly shines: Arze, portrayed with emotional depth by Diamand Abou Abboud, dons various religious symbols and disguises to navigate Beirut’s fractured neighborhoods.
Shabib excels in exposing the farce of sectarianism, insinuating that Lebanon’s religious divisions are not deeply rooted but socially constructed and performative. Arze’s ability to blend into different communities simply by changing her appearance highlights how fragile and superficial these boundaries truly are.
In this sense, the film excels in its portrayal of a fourth main character: Beirut itself. Through Shabib’s lens, we are taken on a tour of a city so diverse it borders on overwhelming. Yet this diversity, rather than being a source of division, becomes a stage for a pointed critique, one that targets society’s fixation on appearances and its preference for the performative over lived reality.
DUBAI: The Michelin Guide is set to launch in Saudi Arabia, marking a major milestone in the Kingdom’s evolving culinary landscape.
Organized in partnership with the Culinary Arts Commission, a subsidiary of Saudi Arabia’s Ministry of Culture, the “new selection will focus on the bustling cities of Riyadh and Jeddah, while also beginning to explore the diverse regions of the Kingdom, including Khobar, AlUla, and many more,” according to the Michelin Guide.
The announcement confirmed that Michelin inspectors “are already in the field” and will begin evaluating restaurants." The selection will be made according to the Michelin Guide’s criteria: “The quality of the ingredients, the mastery of cooking techniques, the harmony of flavors, the personality of the cuisine and the consistency both over time and through the menu as a whole.”
Gwendal Poullennec, international director of the Michelin Guide, said in a statement: "These past few years, our Michelin inspectors have been keeping a watchful eye on The Kingdom’s culinary progression and continue to relish the wonderful spectrum that this fast-developing country has to offer.”
Mayada Badr, the CEO of the Saudi Culinary Arts Commission, said: “Our collaboration with the Michelin Guide marks an important milestone in celebrating the unique and diverse culinary scene of Saudi Arabia. It shines a light on the creativity and excellence of our chefs and restaurants, and invites the world to discover the distinct flavors and experiences the Kingdom has to offer.”
One Michelin star is awarded to restaurants for “high-quality cooking that is worth a stop,” two stars for “excellent cooking that is worth a detour,” and three stars for “exceptional cuisine that is worth a special journey.”
Alongside the coveted star ratings, the selection also includes the popular Bib Gourmand category, a distinction awarded to restaurants that provide good quality food at a moderate price.
The restaurant selection for the inaugural edition will be unveiled towards the end of 2025. The selection will be revealed in three stages - on the 15th of each month from October to December 2025, the inaugural selection for Saudi Arabia will be unveiled on our dedicated digital platform.
The guide currently operates in Dubai, Abu Dhabi and Qatar.
The prestigious French guide actually began as a handy guidebook for Michelin tire customers in France in 1900. It was the brainchild of the Michelin brothers, who sought to “provide motorists traveling through France with all the useful information to supply their automobile, to fix it, where to sleep and eat, and which means exist to communicate, by mail, telegraph or telephone,” according to Christie’s auction house, which put a set of guides under the hammer in 2016.
The first edition saw almost 35,000 copies printed, and contained useful information for motorists, including a list of hotels, groceries, bakeries, hardware stores and instructions on how to fix and change tires.
In 1931, ratings featured the current system of three stars for the first time, with the definitions becoming clear and definitive in 1933. One star indicated a good place to stop on your journey, and was awarded to a very good restaurant in its category. Two stars meant excellent cuisine, indicating dishes of outstanding quality worth a detour. Three stars were awarded to a restaurant worth a special journey, where diners could expect to eat very well.
Although production of the guide was suspended during both world wars, the 1939 edition of the guide was reprinted by the US military in 1943, just before the June 6 invasion of Normandy the following year, as it was deemed the most up-to-date map available to the armed forces.
The push eastward is relatively recent, as until 2006 Michelin’s country guides only covered Europe.
Theater and film experts Fatima Al-Banawi, Lana Komsany lend expertise to Saudi summer camp
Updated 23 June 2025
Arab News
DUBAI: Saudi filmmaker Fatima Al-Banawi is set to take part in a two week summer program for children in Jeddah hosted by Alf Wad Productions.
The two programs aimed at children are titled “Little Theater Stars Camp” and “Camp Journey to the World of Cinema.” The programs run for two weeks.
The schedule focuses on teaching theatrical experiences by allowing children to write a play inspired by their ideas. In addition to writing a script, the participants will design the costumes and help in building the set for the production.
From lighting to sound and storytelling, the program will offer a holistic understanding of what it takes to bring a theater production to life.
Led by instructor Lana Komsany and supervised by Al-Banawi, the programs will conclude with a performance in front of a live audience.
Al-Banawi is recognized for her roles in “Barakah Meets Barakah” and the Saudi thriller “Route 10.”
She made her directorial debut with “Basma,” in which she also plays the titular role of a young Saudi woman who returns to her hometown of Jeddah after studying in the US. Back home, she is confronted with her father’s mental illness, strained family ties, and the challenge of reconnecting with a past life that no longer feels familiar.
“I really went into cinema — in 2015 with my first feature as an actress — with one intention: to bridge the gap between the arts and social impact and psychology,” she previously told Arab News. “And I was able to come closer to this union when I positioned myself as a writer-director, more so than as an actor.”
The film debuted on Netflix in 2024.
Meanwhile, Qamsani specializes in film and theater, with extensive experience in directing, acting, and writing, and is known for her work in creative training.
Alfwad Productions is a Saudi Arabia-based creative arts organization focused on nurturing young talent through performance, storytelling, and cultural education. The organization runs year-round programs that blend theater, music, and visual arts.
DUBAI: American Dutch Palestinian supermodel Bella Hadid is expanding her beauty brand, Orebella, into the world of accessories — and she’s doing it with a little help from her close friends.
Hadid has teamed up with Wildflower Cases co-founders Sydney and Devon Lee Carlson to launch a limited-edition collaboration featuring two dreamy new products: an iPhone case and a “Scentable Wristlet.”
Bella Hadid has teamed up with Wildflower Cases co-founders Sydney and Devon Lee Carlson to launch a limited-edition collaboration featuring two dreamy new products: an iPhone case and a “Scentable Wristlet.” (Instagram)
Hadid took to Instagram to announce the launch, writing, “Feeling like the luckiest girl in the world to be able to be creative with my beauty boss sisters. Life is beautiful when we have the opportunity to watch our friends winning. So proud of you two. So proud of our teams. So proud of us. Love you all — thank you for bringing this vision to life.
“Cases ANDDDD our most special scented wristlets to keep the orebella scent of your choice on you at all times! Been wanting to make this accessory for a while, had the idea for scented bracelets and wristlets, and my sisters pulled it all together for us. Love you guys so much,” she added.
Teased earlier on Instagram through behind-the-scenes campaign shots, the collaboration blends Orebella’s fragrance-forward ethos with Wildflower’s unique phone accessory style.
The iPhone case is designed with a celestial sky motif and a delicate crescent moon, channeling Hadid’s signature mystical aesthetic — part of what the trio call a “girl gang collection,” celebrating the friendship between Bella, Devon, and Sydney.
Meanwhile, the Scentable Wristlet introduces a functional — and fragrant — twist. Designed to hold a small vial of Orebella’s signature scent, the wristlet allows users to carry their favorite fragrance with them wherever they go, seamlessly merging style with sensory self-expression.
Orebella, which launched in May last year with a sell-out line of clean fragrance mists, is rooted in Hadid’s love of scent layering, spirituality, and beauty rituals.
Hadid wrote on her website at the time: “For me, fragrance has always been at the center of my life — helping me feel in charge of who I am and my surroundings. From my home to nostalgic memories, to my own energy and connection with others, scent has been an outlet for me. It made me feel safe in my own world.”
Co-founder of digital platform The Open Crate shares Art Basel top picks
Updated 21 June 2025
Arab News
BASEL: Tunisian art expert Amina Debbiche, who co-founded digital art platform The Open Crate alongside Nora Mansour, shares her top artworks from Switzerland’s Art Basel contemporary art fair, which wraps up on Sunday.
Amina Debbiche. (Supplied)
The Open Crate allows clients to digitalize their entire collection, whether it be artwork, design objects or luxury items.
Yto Barrada at Sfeir-Semler Gallery
“I first discovered Yto Barrada’s work at the Arsenale during the 2011 Venice Biennale and was instantly captivated by her poetic and political approach. Since then, I’ve followed her brilliant trajectory across film, photography, textiles, and installation. Born in Paris and raised in Tangier, her practice explores themes of memory, displacement, and resistance. We’ve now come full circle - she will represent France at the upcoming Venice Biennale, curated by Myriam Ben Salah.”
Yto Barrada’s work at Art Basel. (Supplied)
Alia Farid’s ‘Elsewhere’ at Art Basel Unlimited
Alia Farid’s ‘Elsewhere’ at Art Basel Unlimited. (Supplied)
“Alia Farid’s ‘Elsewhere’ deeply moved me with its layered storytelling and political tenderness. The work maps Arab and South Asian migration to Latin America and the Caribbean through handwoven rugs made with Iraqi weavers. It documents hybrid identities, memory, and solidarity across geographies. I’ve long admired how Alia reclaims overlooked narratives with such poetic clarity. Her voice feels both urgent and timeless.”
Eunnam Hong’s ‘Safeway’ at Mendes Wood DM booth
“Eunnam Hong’s painting … stopped me in my tracks — cinematic, hyper-stylized, and effortlessly cool. With nods to Cindy Sherman and K-drama aesthetics, the Korean artist explores identity and performance through staged, uncanny tableaus. Her figures- drenched in soft light, wrapped in curlers and headscarves, clutching vitamin D and Safeway bags - feel both retro and unmistakably now. It’s suburban surrealism meets generational moodboard, complete with Converse and quiet rebellion. Hong is one of the most compelling contemporary voices out there - sharp, relatable, and iconic in the making.
Eunnam Hong’s ‘Safeway’ at Mendes Wood DM booth. (Supplied)
Simone Fattal’s ‘Music On My Mind’ (2024)
“Simone Fattal is a Syrian Lebanese artist whose sculptural practice draws from archaeology, poetry, and mythology to explore themes of memory, exile, and resilience. Born in Damascus and raised in Beirut, she has created only a few large-scale sculptures, making each one rare and significant. Her works are held in major collections including MoMA, Centre Pompidou, and the Sharjah Art Foundation … I was drawn to “Music On My Mind” for its quiet power — the naive, totemic form and subtle reference to sound felt deeply poetic.”
Simone Fattal’s ‘Music On My Mind’ (2024). (Supplied)
M'barek Bouhchichi’s ‘Terr
M'barek Bouhchichi’s ‘Terra’ series (2024)
Noah Davis’s ‘The Goat from Grayson’ (2008) at David Zwirner
“I love this work for its quiet intensity and material poetry and Selma Feriani, who presents it, is one of the few truly independent voices from the region to make it to Art Basel with a consistently bold program. M’barek Bouhchichi, born in southeastern Morocco, lives and works in Tahanaout, Morocco. The artist collaborates with women artisans to create henna-dyed wool works that evoke both landscape and memory. His ‘Terra’ series explores cultural links between Morocco and Mali through ancestral weaving techniques. These minimal, earthy compositions blur the line between textile and painting. A major solo show in Tunis is coming this September.”
Noah Davis’s ‘The Goat from Grayson’ (2008) at David Zwirner
“I’ve always been drawn to Noah Davis’s ability to create scenes that feel both dreamlike and grounded in Black lived experience. “The Goat from Grayson” (2008), shown here at David Zwirner, captures his signature blend of poetic realism, rich symbolism and painterly tenderness. The glowing tree, the quiet tension, and the spiritual undertone pull you in. Davis, who passed away tragically young at 32, was not only a brilliant painter but also the founder of The Underground Museum in Los Angeles, a vital space for Black art and community. His work was the subject of a major retrospective at the Hammer Museum in 2020, cementing his legacy as one of the most influential artists of his generation.”
Eric Fischl’s ‘After the Funeral’ (2017)
“Eric Fischl’s paintings often feel like paused movie scenes, loaded with tension, memory, and unspoken drama. I was instantly drawn to these two women, something about the cigarette, the ice cube, the gaze, it felt like I’d stumbled into a Woody Allen film mid-conversation. Fischl captures that strange mix of intimacy and detachment with uncanny precision. A key figure of American figurative painting since the 1980s, his work explores suburban psychology and social dynamics. He is represented by Skarstedt, a gallery known for championing major contemporary artists like David Salle, Cindy Sherman, and George Condo.”
Eric Fischl’s ‘After the Funeral’ (2017)
Sheila Hicks’s ‘Lianes Etoiles’ (2020)
“Sheila Hicks’s ‘Lianes Etoiles’ is pure visual rhythm. Its vibrant threads, soft textures, and sculptural layering instantly drew me in. There is something meditative and sensual about the way the colors pulse across the surface. Hicks, a pioneer of textile art, has redefined fiber as a sculptural and painterly medium for over six decades. This piece feels both contemporary and ancestral, like a coded language of color and craft. It is shown by Alison Jacques, a gallery that consistently champions strong, visionary practices.”
Wael Shawky’s ‘I Am Hymns of The New Temples: Pompeii glass amphora (#06)’ (2023) at the booth of Lia Rumma
“Wael Shawky’s amphora sculptures are a masterclass in historical layering and contemporary wit. Representing the Egyptian Pavilion at the last Venice Biennale, his work was among the most celebrated and nearly won the Golden Lion. The video “Drama 1882” retelling of the ’Urabi revolution that was co‑funded through support from Mai Eldib, who organised key patronage, was later acquired by a major institution in the Middle East. These Murano glass forms, draped in ornate textiles, are as subtle as they are rich in reference. Shawky continues to expand the visual language of Arab myth, ritual, and storytelling with quiet force.”
Wael Shawky’s ‘I Am Hymns of The New Temples: Pompeii glass amphora (#06)’ (2023) at the booth of Lia Rumma
Amoako Boafo’s ‘Floral One Piece’ (2025) at Gagosian Gallery’s booth
“This striking portrait by Amoako Boafo was exhibited at the Gagosian booth, where the brilliant Rola Wazni, director of Gagosian Paris, walked me through a presentation curated by Francesco Bonami. Boafo, originally from Ghana and based in Vienna, is known for his lush finger-painted figures and bold exploration of Black identity and presence. His textured brushwork and floral detailing here are both tender and defiant. The composition radiates quiet power, dignity, and individuality. Rolla’s sharp eye and grace made the experience even more memorable.”
Amoako Boafo’s ‘Floral One Piece’ (2025) at Gagosian Gallery’s booth
Maurizio Cattelan and Rudofl Stingel at Gagosian Gallery’s booth
“Gagosian’s booth at Art Basel 2025, curated by Francesco Bonami, offered a brilliantly irreverent pairing of Maurizio Cattelan’s ‘No’ (2021) and Rudolf Stingel’s ‘Untitled’ (2012). Cattelan’s kneeling figure in a suit, head covered by a paper bag, delivers a biting satire of modern-day capitalism and mental health collapse — a man caught between denial and trauma, refusing to face symbolic castration or mortality. Stingel’s silvery abstraction provided a haunting, meditative counterpoint, echoing themes of absence and ego. Together, the works reflected on visibility, repression, and the absurd rituals of the art world. The result was a sharp, minimalist statement that lingered long after.”
