New partnership to conserve AlUla’s cultural heritage
National Archives will work with the commission in four broad areas: training and scientific exchange, archival research, public programming, and digitization
Abeer Al-Akel: Our partnership with the National Archives exemplifies the power of international collaboration
Updated 10 September 2024
Arab News
JEDDAH: The Royal Commission for AlUla has signed a partnership agreement with the UK National Archives in line with the commission’s goals of cultural heritage preservation, international collaboration, and contribution to Vision 2030.
Through its expertise in archival management and historical documentation, the National Archives will work with the commission in four broad areas: training and scientific exchange, archival research, public programming, and digitization. Specific initiatives will focus on joint research projects, digital archive initiatives, and cultural exhibitions.
Abeer Al-Akel, acting CEO of the commission, said: “RCU’s campaign of comprehensive regeneration is transforming AlUla into a global hub for heritage and culture — and an extraordinary location for residents and visitors. Our commitment to conservation supports Vision 2030’s goal of promoting Saudi culture through initiatives that are ‘powered by the past, reimagined for the future.’
“Our partnership with the National Archives exemplifies the power of international collaboration, combining expertise and resources from Saudi Arabia and the UK to enhance cultural heritage research and public programming.”
Saul Nasse, chief executive and keeper of the National Archives, said: “Working with the Royal Commission for AlUla is an opportunity to share our pioneering work in documenting and safeguarding heritage. RCU has an ambitious strategy to preserve the rich stories of northwest Arabia, and we look forward to contributing our insights and experience.”
Through this collaboration, RCU and the National Archives aim to enhance the visibility of Saudi documentary heritage and strengthen the capacity of local archives to provide wide access to these invaluable resources, further solidifying AlUla’s position as a global hub for cultural preservation and exploration.
A love song to Palestine: ‘Thread Memory’ at Hayy Jameel in Jeddah
Curator Rachel Dedman discusses the show celebrating the ancient art of tatreez
Updated 30 January 2025
Jasmine Bager
JEDDAH: In January, the exhibition “Thread Memory: Embroidery from Palestine” opened at Hayy Jameel in Jeddah. It explores the ancient Palestinian tradition of tatreez; intricate hand embroidery primarily undertaken by women.
Tatreez — a slow, laborious and deliberate practice — is far more than just a decorative art form; it has come to be seen as a symbol of resilience, community and cultural pride. Amid the ongoing conflicts in Gaza and Lebanon, the exhibition celebrates Palestinian stories and creativity.
On Jan. 23, the exhibition “Thread Memory: Embroidery from Palestine” opened at Hayy Jameel in Jeddah. (Supplied)
It is also, curator Rachel Dedman notes, “an opportunity for the Palestinian diaspora in Saudi — which is a huge community — to connect with their own heritage.” And there are, she adds, “really fertile connections to be made, interdisciplinarily, between (Palestinian) embroidery and embroidery from Saudi Arabia.”
The exhibition, which runs until April 17, features more than 30 dresses and multiple accessories — pieces of jewelry, small dolls, a handkerchief, headdresses — plus more than 100 images from the Palestinian Museum. It also includes a display of smartphones showcasing real-time updates from Palestine.
In partnership with the Palestinian Museum in Birzeit, “Thread Memory” draws from an extensive archive, emphasizing tatreez as a living art form which is deeply entwined within Palestinian life and tells the stories of generations of people and of shared resistance and hope amid the ongoing violence and threat of erasure.
Rachel Dedman. (Supplied)
Dedman says there are probably as many tatreez variations as there are villages in Palestine. She views it as a way in which its female creators empower themselves, looking to the future when the present might seem unbearable. The dresses mark the milestones of a woman’s life.
In times of displacement, often the women can only take with them the clothes on their back, so there are instances when a garment has been modified to fit different bodies.
The exhibition is also full of textual information.
“There’s beauty in (that), because this is a history that’s being actively erased — or that is under threat of erasure,” says Dedman. “So by offering up a lot of information, I hope maybe there’s some Palestinians in Jeddah who feel more connected to their own history or heritage, who feel seen, who feel represented, who feel able to come to a space and experience the grief that we’re all feeling, acknowledged in this beautiful way.
Some of the dresses actually come from personal collections in Riyadh and Jeddah, Dedman explains. “There’s also a wonderful Syrian dress included; (these are) examples of how, in diaspora, these dresses continue to be deeply meaningful for those who own them,” Dedman explains.
Handmade embroidered ties created by the Association for the Development of Palestinian Camps (INAASH)' (1973), (Courtesy of the Palestinian Museum)
While Dedman is not of Palestinian descent, she is an active and avid supporter of the Palestinian cause, and she sees tatreez is a profound reflection of Palestinian life, resilience and creativity.
“Nobody who has — or practices — tatreez finds it trivial,” she says.
Dedman — a London-based expert in Middle Eastern textiles, has dedicated over a decade to studying tatreez, starting in 2014 with her work for the Palestinian Museum in Birzeit, with whom she collaborated for this exhibition. Her previous exhibitions have highlighted tatreez as both an art and a tool of cultural preservation. In addition to her role as the Jameel Curator of Contemporary Art from the Middle East at London’s Victoria and Albert Museum, Dedman also lectures globally on the intersection of textiles, identity and politics.
“I’m in this position of enormous privilege; I have the passports to travel between Lebanon and Palestine — no Lebanese or Palestinian can do so,” she explains. “And for me, it was really important to not just drop in and interview someone, but to try and forge relationships and bring them in as sort of members.”
Her goal for the Jeddah exhibition is simple. “I’m always excited by the opportunity to bring Palestinian voices into a space. I hope it speaks to people,” she says. “For me, the dresses are almost punctuation amid the love song to Palestine that this exhibition is.”
Japan’s Drum Tao deliver heart-pounding beats on Saudi debut
Updated 30 January 2025
Jasmine Bager
DHAHRAN: Drum Tao, the internationally acclaimed Japanese drumming ensemble, delivered a heart-pounding performance at the King Abdulaziz Center for World Culture’s theater on Wednesday night.
Their show at Ithra, titled “The Dream,” is running nightly until Feb. 1, with two performances on Jan. 31.
For over an hour, the audience regularly clapped in unison. With no lyrics, the performance relied entirely on sight and sound to tell its story.
Their show at Ithra, titled “The Dream,” is running nightly until Feb. 1, with two performances on Jan. 31. (Supplied)
The stage lighting shifted throughout, intending to evoke a range of emotions. The interplay of flute and drums created a soundscape that was at once soft and powerful, gentle yet aggressive.
The energy was serene and melancholic, tender and intense, seamlessly blending contrasts. The seemingly chaotic performance was expertly synchronized and at times humorous.
Known for their fusion of traditional wadaiko drumming, modern choreography, and dynamic storytelling, Drum Tao was founded in 1993 in Oita, Japan.
They have performed in more than 500 cities for more than 9 million spectators worldwide.
The shows are part of a 17-day cultural exchange, “Ithra Cultural Days Japan,” which concludes on Feb. 8. (Supplied)
They made their off-Broadway debut in New York to a sold-out audience in 2016 before bringing their performances to Tokyo and Osaka’s most popular nightclubs in 2022 as a part of Club Tao.
Directed by Drum Tao founder Ikuo Fujitaka, the evening at Ithra fused the thunderous beats of taiko drums with the delicate melodies of Japanese flutes and harps.
The choreography — an athletic feat in itself — added another layer of spectacle, making it a true crowd pleaser.
For the audience, the evening was more than just a performance — it was a vivid exploration of Japanese culture.
The shows are part of a 17-day cultural exchange, “Ithra Cultural Days Japan,” which concludes on Feb. 8.
Other Japanese musicians and artists also traveled to Ithra to showcase their talents.
One of them, Kohei Matsumoto, whose performances can be seen at Ithra’s Lush Garden, spoke to Arab News about how Japanese music is fostering cultural exchange and understanding.
“I’m really happy to see (Saudi) Arabian people enjoying Japanese culture through music — people can experience authentic Japanese traditions here (at Ithra’s Japan cultural days),” Matsumoto said.
MENA’s 50 Best Restaurants 2025: A celebration of culinary excellence
Updated 29 January 2025
Waad Hussain
ABU DHABI: MENA’s 50 Best Restaurants awards returned to Abu Dhabi for its 2025 edition on Tuesday night, celebrating the finest dining establishments across the Middle East and North Africa. The event, held at Erth Abu Dhabi, brought together the region’s most acclaimed chefs, restaurateurs, and industry experts for a night that highlighted innovation, craftsmanship, and cultural heritage in gastronomy.
The No.1 spot was awarded to Orfali Bros Bistro (Dubai) for the third consecutive year, recognizing its bold reinterpretation of Middle Eastern flavors with global techniques. The list featured restaurants from 11 cities, showcasing the diversity of culinary experiences across the region, from fine-dining institutions in Dubai and Cairo to rising stars in Riyadh, Beirut, and Amman.
The No.1 spot was awarded to Orfali Bros Bistro (Dubai) for the third consecutive year. (Supplied)
The United Arab Emirates led the rankings with 22 restaurants, followed by Egypt (7), Jordan (6), Saudi Arabia (5), and Morocco (5).
Marble: A journey from pop-up to culinary excellence
Founded in 2018, No. 16 on the list was Marble, which started as a humble pop-up on Prince Turki Road before evolving into one of Riyadh’s most sought-after dining destinations. The restaurant’s focus on high-quality meats, expert butchery, and open-flame cooking has cemented its reputation among steak lovers and food critics alike. It was the highest ranking restaurant in Saudi Arabia.
Aseeb. (Supplied)
The restaurant is led by Chef Abdulrahman Al-Sowailem, along with CEO Meshal Al-Akeel and Creative Director Omar Al-Dayel, who have played pivotal roles in shaping Marble’s identity and culinary direction.
Speaking to Arab News, Chef Abdulrahman Al-Sowailem expressed his pride in the achievement, “We are proud that Marble is the number one restaurant in Saudi Arabia, and we are delighted to see Saudi restaurants being recognized among the top 50 in the Middle East and North Africa.”
Lunchroom. (Supplied)
Al-Sowailem, known for his meticulous approach to meat selection and minimal seasoning techniques, credits Saudi Arabia’s evolving culinary landscape for creating opportunities for innovation.
“The influx of international restaurants has improved ingredient availability in Saudi Arabia, allowing us to source better products and refine our offerings,” he said.
Myazu. (Supplied)
Marble’s menu blends classic butchery with subtle nods to Saudi flavors, featuring Saudi coffee gelato and fried dates as part of its evolving lineup. Al-Sowailem also hinted at plans to further explore traditional Saudi cuisine in an elevated, modern context.
Kuuru. (Supplied)
In addition to Marble, four other Saudi restaurants were named on the list:
• Kuuru (Jeddah) – No. 30: A contemporary fine-dining concept that fuses global culinary techniques with Saudi ingredients.
• Lunch Room (Riyadh) – No. 31: A modern dining space blending casual elegance with high-end gastronomy.
• Aseeb (Riyadh) – No. 39: A new entry to the list, offering a creative interpretation of traditional Saudi dishes with a modern twist.
• Myazu (Riyadh) – No. 49: A high-end Japanese restaurant known for its refined take on traditional Japanese flavors, incorporating Saudi influences.
Marble. (Supplied)
The top 10 restaurants of MENA’s 50 Best 2025 list represent a mix of heritage, innovation, and global influence:
1. Orfali Bros Bistro – Dubai (Best Restaurant in MENA)
2. Trèsind Studio – Dubai
3. Kinoya – Dubai
4. Khufu’s – Cairo (Best Restaurant in Egypt)
5. Ossiano – Dubai (Art of Hospitality Award)
6. Fusions by Tala – Manama (Best Restaurant in Bahrain)
7. Jun’s – Dubai
8. Shams El Balad – Amman (Best Restaurant in Jordan)
9. Em Sherif – Beirut (Best Restaurant in Lebanon)
10. Moonrise – Dubai
Dubai art exhibition ‘The Sublime Nature of Being’ explores ‘sense of wonder’
Updated 29 January 2025
Saffiya Ansari
DUBAI: Set to run until Feb. 22, Dubai’s ICD Brookfield Place is playing host to an exhibition that explores the sense of wonder that accompanies being in awe.
“The Sublime Nature of Being,” a collaboration with ICD Brookfield Arts program, is curated by Ambika Hinduja Macker, who brought together the work of 15 international artists to lead visitors on a journey through moments of awe and reverence inspired by the grandeur of nature.
“The sublime is an overwhelming sense of wonder, a feeling that transcends words and logic, pulling us into a moment of pure awe and connection. It’s what happens when we encounter something so profound, so vast, that it stirs both our soul and our senses, leaving us simultaneously humbled and uplifted. ‘The Sublime Nature of Being’ is my attempt to offer a tangible glimpse of this elusive feeling,” Macker told Arab News.
Is it a reimagining of her 2022 immersive art experience of the same name and the curator — who is the founder and creative director of art and design firm Impeccable Imagination — describes the experience as an alchemic sonic environment, one that “blends ancient techniques of sound healing with cutting-edge technologies to create an immersive soundscape rooted in reflection and renewal.”
Specially commissioned artists include US contemporary artist Jacob Hashimoto, French designer Mathieu Lehanneur, Belgian sculptor and contemporary artist Fred Eerdekensm Lebanese multi-disciplinary artist Nadim Karam and Brazilian artist Janaina Mello, among others.
“As a curator, my role is to weave these diverse expressions into a cohesive yet ephemeral narrative, creating an environment where materials, mediums, and artistic visions engage in dialogue with one another,” Macker explained.
The exhibition features a celebration of the five elements — “water, fire, earth, air, and spirit permeate the venue, each with its own curated space and featured works, all within a larger, interconnected environment,” the curator noted.
Works include several sculptures by Lebanese artist Karam, including “Silent Thinker” (2024), a polished stainless steel piece.
“(Karam) has developed a distinctive artistic language rooted in memory, space, and collective identity,” Macker explained. “His work embodies profound, ongoing reflections on societal diversity and pressing global issues, yet he seamlessly juxtaposes these important themes with playful, even absurdist, touches.”
A short walk away is “The Aquifer” (2024) by Hashimoto, a wall-hanging work featuring bamboo, acrylic, paper, wood and dacron.
Colourful, pattern-printed discs are suspended by wire between pegs in the mesmerizing work that is just one of the many emotive pieces on show.
Despite the effort involved in bringing together 15 artists, Macker says the most challenging aspect of bringing “The Sublime Nature of Being” to fruition “was transforming a vibrant public hub without disrupting its accessibility or the daily rhythms of those who frequent it.”
Ithra showcases historic Islamic treasures at second Islamic Arts Biennale in Jeddah
Ancient edict, prayer carpet fragment, religious manuscript among artifacts
Event explores ways faith is experienced, celebrated
Updated 28 January 2025
Arab News
JEDDAH: Historic Islamic artifacts are being displayed by the King Abdulaziz Center for World Culture at the second edition of the Islamic Arts Biennale currently underway in Jeddah.
Running until May 25 at the iconic Western Hajj Terminal, this year’s biennale, titled “And All That Is In Between,” explores the profound ways faith is experienced, expressed and celebrated.
Pieces on display include an edict from the Ottoman Sultan Mustafa III, who reigned from 1757 to 1774, regarding the Prophet Muhammad’s tomb; a prayer carpet fragment; a tafsir (interpretation of the Qur’an) manuscript; a folding manuscript stand; a mosque lamp; and a large wooden minbar (pulpit).
Ithra, which is renowned as a global leader in Islamic arts and heritage, will feature its pieces in the biennale’s Al-Madar section. This exhibition brings together contributions from prominent local and international institutions, emphasizing the richness and diversity of Islamic culture.
Farah Abushullaih, the head of the museum at Ithra, said: “It is a privilege for Ithra’s Islamic collection to be featured once again at this prestigious biennale, which celebrates the diversity and depth of Islamic arts.
“Our participation underscores our ongoing commitment to preserving and sharing the rich heritage of Islamic art with a global audience while expanding knowledge of key concepts of Islamic traditions that have shaped and continue to shape Islamic identities today.”
The artifacts on display, which were carefully curated in collaboration with Heather Ecker and Marika Sardar from Al-Madar’s curatorial team, reflect the theme of waqf. This fundamental Islamic concept involves dedicating assets for communal benefit, supporting religious, educational, or charitable initiatives.
Ithra’s participation aligns with its mission to inspire, enrich and foster appreciation for Islamic heritage through various initiatives, including its triennial Islamic Art Conference and major exhibitions. Its current “In Praise of the Artisan" exhibition showcases over 130 historic and contemporary works, many of which are on public display for the first time.
With its robust programming of lectures, workshops, and live demonstrations, Ithra continues to honor the past and present, positioning Islamic craftsmanship as a living tradition. Its efforts underscore the institution’s role as a global champion of cultural exchange and creativity.
The Islamic Arts Biennale, hosted by the Diriyah Biennale Foundation, provides a platform for exploring Islamic arts and traditions.
The event’s first edition in 2023, at which Ithra also participated, attracted more than 600,000 visitors.
