Riyadh forum highlights importance of cultural identity and Arab heritage

Special Riyadh forum highlights importance of cultural identity and Arab heritage
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Chairman of the King Faisal Center for Research and Islamic Studies Prince Turki Al-Faisal. (Supplied)
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Updated 06 May 2024
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Riyadh forum highlights importance of cultural identity and Arab heritage

Riyadh forum highlights importance of cultural identity and Arab heritage
  • Scholars, officials, experts explore and celebrate Arabian Peninsula
  • Katakura Kunio said that both Japanese and Islamic cultures had historic roots in promoting peace

RIYADH: The Al-Marwiyah Al-Arabiyah Conference, called “Desert Culture,” concluded on Monday in Riyadh. The two-day event brought together a diverse group of scholars, officials, and experts to explore and celebrate the rich cultural heritage of the Arabian Peninsula.

Prince Turki Al-Faisal, the chairman of the King Faisal Center for Research and Islamic Studies, said that nomadism was central to Arab culture, emphasizing its roots in values over materialism. He noted that Arabs were natural storytellers, adept at turning chaos into clarity.

Katakura Kunio, president of the Motoko Katakura Foundation for Desert Culture in Japan, delivered a speech in memory of his late wife, anthropologist Motoko Katakura, which highlighted her research in Saudi Arabia.

Kunio said: “Motoko’s enduring passion for comfort inspired our foundation to establish the Comfort Prize, aimed at supporting both Japanese and international researchers and artists. This award honors individuals who dedicate their lives to enriching desert culture.

“In the current climate of positive change within Saudi Arabia, including the increased societal participation of women and the focus on tourism development, it is natural to re-evaluate the traditional value of comfort. Perhaps, in a world increasingly driven by hyper-capitalism, comfort can offer a remedy for the global population yearning for a slower pace.”

Kunio said that both Japanese and Islamic cultures had historic roots in promoting peace. He noted that Prince Shotoku of Japan endorsed “respect for peace” in his 17-Article Constitution, while the Prophet Muhammad established the Madinah Charter, which also emphasized peace and tolerance. These parallels suggested a common ground for fostering cross-cultural understanding, he added.

Abdullah Hamidaddin, assistant secretary-general for scientific affairs at the KFCRIS, described Al–Marwiyah Al-Arabiyah as a research initiative which aimed to address confusion about Arab civilization. It sought to combat attempts to undermine and marginalize Arab culture.

Hamidaddin said that the project used scientific methods to study Arab narratives and the origin of language in the Arabian Peninsula, while promoting dialogues, field studies, and critical analyses in various fields, including history, archaeology, sociology, philosophy, literature, and art.

The conference aimed to highlight the civilizational and cultural significance of the Arabian Peninsula, while seeking to strengthen the sense of Arab identity for future generations. It also promoted cultural exchange between the Arab world and neighboring regions.

A lecture titled “Gifts of God (Camels),” by Sulaiman Al-Theeb, cultural adviser at the center, was presented during the conference.

He spoke of the Arabian Peninsula’s deep connection with camels through three key concepts: rock and mural art; archaeological finds, like daily tools; and references to camels in ancient Arabic inscriptions, especially Thamudic writings.

Al-Theeb highlighted the significant status of camels in the region, which has earned them the moniker “the ship of the desert.”

Mohammed Al-Rowaily, a member of the Cultural Council at the Abdulrahman Al-Sudairy Cultural Center, said that the Arabic narrative played a crucial role in sharing ideas with others. He noted that Arabic storytelling enhanced cross-cultural understanding by conveying elements from history, oral literature, civilization, arts, and other creative works.

Hajar Al-Shammari, a linguistic researcher in Saudi history, said that the event boosted cultural engagement by fostering dialogue and cultural exchange among academics. Through the sharing of ideas it helped to establish a foundation for field studies and critical analyses focused on Arab perceptions and identity.

Al-Shammari added that Arabic storytelling played a significant role in promoting social cohesion, fulfilling the search for roots, and reinforcing values. This was especially important in the context of cultural identity and Arab heritage.


Nadim Karam talks Japanese inspiration, realities of artistic work 

Nadim Karam talks Japanese inspiration, realities of artistic work 
Updated 25 February 2025
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Nadim Karam talks Japanese inspiration, realities of artistic work 

Nadim Karam talks Japanese inspiration, realities of artistic work 

DUBAI: Fresh off a group exhibition in Dubai, titled “The Sublime Nature of Being,” Arab News spoke to Lebanese artist and architect Nadim Karam about his inspirations, the power of mentorship and the “beating clock in the upper pocket of (his) shirt.”
The multi-disciplinary creative focuses on sculptures in varying scales, as well as works on paper and site-specific public art projects. 

The multi-disciplinary creative focuses on sculptures in varying scales. (Supplied)


He most recently took part Dubai-based exhibition “The Sublime Nature of Being,” a collaboration with ICD Brookfield Arts program, where he showcased his polished stainless steel “Silent Thinker.”
“‘Silent Thinker’ is about total silence, or the inner void that strives to reach the sublime… the clarity found in inward silence is both oppositional and complementary to the stimulus and inspiration that can be found in the thriving, multi-cultural scene of Dubai,” he explained. 
Karam’s formative years in Lebanon and his doctoral studies in Japan continue to be defining influences in his work. He studied under Japanese architects Fumihiko Maki, Tadao Ando, and Hiroshi Hara, who died in January. 


“Professor Hara… profoundly influenced my thinking process. The most critical thing I learned from him is the discipline of applying a philosophical concept to a creative process and coming up with a product, which could be an architectural building, a sculpture or a designed object,” Karam said. 
“Through his diverse studies — Buddhist philosophies and the double negation of Arazu-Arazu, his research on villages worldwide, and his deep interest in mathematics, music and cosmology — he taught me to widen my vision of the world and continuously ‘move on the edge of loose boundaries’ for a better understanding and acceptance of the complex world around me.”

(Supplied)


Hara, the architect known for designing Kyoto Station Building and Osaka’s Umeda Sky Building, is the mind behind award-winning buildings including the Tasaki Museum of Art in Nagano Prefecture and Yamato International Inc.’s Tokyo office in Ota Ward in Japan.
Karam’s paintings and sculptures have been exhibited worldwide and in 2002, he co-chaired the UN/New York University conference in London for the reconstruction of Kabul, Afghanistan. 
When donning his curator’s hat — Karam was Lebanon’s curator at the 2003 Rotterdam Biennale, among other showcases — he believes his role is to facilitate the artist’s vision. 

(Supplied)


“I would give priority to the artist, being one myself! When the artist has given their fullest, the work should touch the visitor. In the process of the development of a work, the most important thing is to be true to oneself, irrelevant of any other consideration. Then the curator’s role is to put the works in the context of the where, how, and what,” he explained. 
With such a diverse schedule, it is a wonder the artist has time to himself to work — the ticking clock is something Karam says he is mindful of.
“The beating clock in the upper pocket of my shirt is always pushing me forward, sending me warnings and scheduling my work; especially in the case of the production of sculptures and public art projects which necessitates a complex structured mechanism which can involve hundreds of people, depending on the scale and nature of the work,” he said, noting that writing and painting are creative outlets that offer him the chance to slow down.
“During these times when I am alone, even the notion of the clock disappears, and only the painting remains.”


Crafting a future: Qatif’s artisans show off their skills

Crafting a future: Qatif’s artisans show off their skills
Updated 24 February 2025
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Crafting a future: Qatif’s artisans show off their skills

Crafting a future: Qatif’s artisans show off their skills
  • Woodworkers, tin shapers delight visitors to four-day event
  • Festival reflects Kingdom’s support for traditional crafts

DHAHRAN: Qatif buzzed with excitement as it hosted a celebration of handicrafts, showcasing the talents of local artisans.

Under the patronage of Qatif Gov. Ibrahim Al-Khorayef, the four-day festival, which ended on Sunday, was held at the Anak Event Hall.

More than 200 booths displayed all manner of handcrafts, from traditional tools and knitted hammocks to jewelry, artisanal perfumes and incense.

The festival featured a “Future Artisans” section designed to inspire young creators and help ensure these ancient skills are never lost. (AN photo)

The event emphasized the importance of preserving traditions and their role in the local economy, aligning with the goals of Saudi Vision 2030.

Among the artisans was Mohammad Moghais, a 47-year-old woodworker who builds miniature versions of old-fashioned homes and shops painted in vibrant colors.

“I started woodworking at 16. Back then, there were no modern tools like today’s oscillating saws. All we had were basic hand saws,” he told Arab News.

The event highlights Saudi Arabia’s support for traditional crafts and their economic role. (AN photo)

Moghais’ first project was a small chair and from there he progressed to making tables, wardrobes and sofas.

“The focus at first was on traditional crafts. We would take discarded wood and repurpose it,” he said. “I always find ways to improve my craft.”

Moghais said he was motivated by the changes he saw to his neighborhood following a renovation project that threatened its character.

The festival featured a “Future Artisans” section designed to inspire young creators and help ensure these ancient skills are never lost. (AN photo)

“It really hurt me to see that,” he said. “So I started making wooden fixtures, decorative pieces and items that reflected our traditional artistry, just like our forefathers used to make. That’s how I’ve continued my work over the years.”

Mohammad Alosaif is another of Qatif’s artisans, who showcased his expertise in crafting tin into everyday items like kettles and pots, a skill he learned from his father.

“I feel that the Kingdom’s ongoing support for these traditional crafts is essential, as they form the foundation of many modern industries,” he said.

The festival featured a “Future Artisans” section designed to inspire young creators and help ensure these ancient skills are never lost. (AN photo)

“It may be an old craft, but it evolves alongside modern industries. For example, tin was once used for oil cans, butter containers and paint cans. Craftsmen would cut the tin into sheets, shape, press and refine it, then mold it into various forms, emboss it and polish it to create useful items.”

For visitors, the event provided a rich tapestry of craftsmanship that told stories of heritage and artistic expression. There were also workshops at which people engaged in a range of activities, like macrame and making incense holders and soap.

The festival also featured a “Future Artisans” section designed to inspire young creators and help ensure these ancient skills are never lost.

 


Saudi artist teams up with Sephora for Founding Day 

Saudi artist teams up with Sephora for Founding Day 
Updated 23 February 2025
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Saudi artist teams up with Sephora for Founding Day 

Saudi artist teams up with Sephora for Founding Day 

DUBAI: Saudi visual artist Aseel Al-Yaagoub this week collaborated with Sephora to celebrate Saudi Founding Day through digital illustrations blending heritage and modern beauty.

 

 

One illustration features a henna-adorned hand reaching for a Sephora shopping bag descending with a parachute, set against traditional Arabian architecture. 

Another depicts two Saudi women in cultural attire applying Sephora makeup, surrounded by palm trees and a patterned bird symbolizing creativity.

“Heritage meets artistry. This Founding Day we’re celebrating Saudi beauty and culture with a special collaboration with Saudi artist,” the artist wrote on Instagram. 


Dubai takes center stage in John Krasinski’s ‘Jack Ryan’ movie

Dubai takes center stage in John Krasinski’s ‘Jack Ryan’ movie
Updated 21 February 2025
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Dubai takes center stage in John Krasinski’s ‘Jack Ryan’ movie

Dubai takes center stage in John Krasinski’s ‘Jack Ryan’ movie

DUBAI: Dubai takes the spotlight in the high-stakes spy thriller “Jack Ryan,” which stars John Krasinski.

The Dubai Media Council confirmed in a statement on X on Thursday that filming in the city has officially wrapped.

Krasinski took to Instagram to express his gratitude and thank the people of Dubai for their support.

“So. Good. To be. Back! #JackRyanMovie is off and running!!! HUGE thank you to all the incredible folks here in Dubai for letting us kick off in epic fashion in your beautiful city! Here we go,” he wrote. 

Directed by Andrew Burstein and produced by Amazon MGM Studios, the latest installment sees Krasinski return to the role of Tom Clancy’s eponymous hero. He previously played the CIA analyst-turned-operative in four Amazon Original series.


Contemporary art at the Islamic Arts Biennale 

Contemporary art at the Islamic Arts Biennale 
Updated 21 February 2025
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Contemporary art at the Islamic Arts Biennale 

Contemporary art at the Islamic Arts Biennale 
  • Curator Muhannad Shono discusses how contemporary works bridge present, past and future 

JEDDAH: “The role of contemporary (art) is to act as a link between the past, our present and this imagining of our future,” says Muhannad Shono, contemporary art curator at the second Islamic Arts Biennale in Jeddah, which opened in January and runs through May. 

Shono’s section of the biennale features 30 new commissions from local and international artists “giving shape to the theme,” which this year is “And All That is in Between” — drawn from a Qur’anic verse: “To Allah belongs the dominion of the heavens and the earth and all that is in between” — guiding artists and audiences to reflect on the spaces that exist between known boundaries, whether physical, spiritual, or conceptual. 

Set across multiple indoor galleries and integrated into outdoor spaces, the contemporary works are woven seamlessly into the Biennale’s landscape alongside ancient artifacts. 

Muhannad Shono. (Supplied)

One striking example is in the AlMidhallah section, where Japanese artist Takashi Kuribayashi’s installation, “Barrels,” features a formation of oil barrels from which a tree emerges, with reflective mirrors blurring the line between man-made and natural elements.  

Pakistani artist Imran Qureshi’s “Zubaydah Trail (Between Sacred Cities),” meanwhile, is an immersive space where visitors are invited to kick off their shoes and sit and reflect between the Makkah Al-Mukarramah and Madinah Al-Munawwarah biennale pavilions. Deeply saturated, vibrant strips of color make the space feel both playful and serious at once. Each color and shape carries symbolic meaning — the zig-zag pattern represents the streaming water of Makkah’s Zamzam well, while the green hue evokes the peacefulness of Madinah. 

There are many other beautiful works, such as Saudi artist Bilal Allaf’s “What I Heard in the Valley,” which draws inspiration from Sa’i, the ritual walk performed by pilgrims during Hajj and Umrah. 

“The overall theme of the biennale is interpreted across five galleries and, of course, across the contemporary interpretations as well,” says the biennale’s artistic director Abdul Rahman Azzam. Contemporary art here serves as a bridge, as Shono suggested, linking the past, present, and possible futures. 

Takashi Kuribayashi's 'Barrels.' (Supplied)

AlBidaya, which translates to “the beginning,” is one of the galleries where this concept comes to life, exploring the emotional connections between objects and ideas. 

“In the beginning, we were kind of focusing on the heavens and the earth. But then we realized that the true power and potential of this biennale is ‘all that is in between,’” Shono tells Arab News. “This idea of the inclusive, the expansive, the layered, the transformative space that is liminal, that is not interested in its edges, it’s not focused on the binary of options of right and wrong and light and dark and good and evil. It is more interested in that new space that we are exploring.”  

Shono was a featured artist at the first Islamic Arts Biennale in 2023. His role this time is very different, but it’s an opportunity he embraced wholeheartedly. 

“I responded yes immediately and I threw myself into the work,” he says. “It was a shift in priorities, it was a shift in what I thought my year was going to look like, and it was completely kind of throwing yourself into the process, into motion. 

“The most surprising part about preparing was how natural it felt. (I wanted to make sure) that I went through this with a smile, and because I experienced the last edition, I knew what it was going to end up feeling like. So it wasn’t an attempt to top anything or compete with anything but more to do it honestly and naturally, as I would do my own work.” 

Imran Qureshi’s 'Zubaydah Trail (Between Sacred Cities).' (Supplied)

What was especially important to him as a curator was working with younger Saudi artists and emerging voices. 

“The word ‘change’ is used a lot here in Saudi and the Biennale really embodies that, bringing in the past — which was very rigid… did not want to be negotiated with, did not want to change its narrative or the parameters of its definitions and space — and bringing contemporary thoughts embodied in contemporary art practices, whose roles are to question, think laterally, reimagine, reinterpret,” he says. “It’s a big testimony to what the country’s going through. And so when I was invited, I really wanted to do it — this speaks to my work and I wanted to extend that into the role of curation.” 

Many of the featured artists were present at the opening, engaging with visitors. “(Art) is not just about showing things; it’s about experiencing things, exchanging things. It responds to your presence. It reacts to you,” says Shono. 

He is grateful to see so many visitors eager to engage with Saudi Arabia’s art scene. The experience, he believes, speaks for itself. 

“Every visit, every person who takes that leap of faith — beyond the stereotypes — is enacting change, is experiencing something that can’t be reversed because you’re really coming in contact with the truth, with people, their lives, their generosity, their authenticity,” he says. 

While he is curating the spaces, he does not want to curate the impressions. 

“I think most of the people are coming here and seeing for themselves what is going on in this country,” he says. “I grew up here in Saudi, so to see a country go through this very rooted experiment of social change… it’s important for it to succeed not only for the sake of this country, but for the entire region.”