‘Those About to Die’ stars talk new swords-and-sandals series set in Ancient Rome
Updated 22 July 2024
Shyama Krishna Kumar
DUBAI: British-Yemeni actor Moe Hashim (“Ted Lasso”) and Iceland’s Johannes Haukur Johannesson (“Succession”) spoke to Arab News recently about playing gladiator frenemies in new swords-and-sandal series “Those About to Die,” streaming in the Middle East on Starzplay.
The action-packed series set in Rome in 79 A.D., stars the legendary Anthony Hopkins as Emperor Vespasian, the founder of the Flavian dynasty, and is inspired by Daniel Mannix’s classic non-fiction book of the same name.
Johannes Haukur Johannesson and Moe Hashim star in ‘Those About to Die.’ (Courtesy of Starzplay)
Hashim, known for his minor role as footballer Moe Bumbercatch in hit Apple TV + series “Ted Lasso,” plays Kwame, a lion tracker, who has been taken to train as a gladiator and now faces an existence that means fighting for his life every day.
When asked what drew him to the series, Hashim said: “For me, (it was) Kwame where he was from and what he represents. And I was very excited because I was like: ‘This is a character that is not really spoken about or has been documented too much in the Roman Empire.’
“And when I did the research on North Africans and the influence they had in the Roman Empire, I was like: ‘Oh, I definitely want to be part of this for sure.’”
Johannesson, in turn, plays an imposing Norse gladiator who befriends Kwame in arena training. His main draw to the show was the grittiness of daily gladiator life. “I thought it was really beautiful to see how the gladiators, who were essentially prisoners made to fight till their death, fought for their lives daily, the way they found humanity and friendship, I thought that was really, really beautiful. That really stood out to me,” said Johannesson.
The show also marks the television directorial debut of blockbuster director Roland Emmerich (“Moonfall”, “The Day After Tomorrow,” “Independence Day”).
Said Johannesson: “Roland is a whirlwind to work with. He sweeps you along. He’s very intense, which is enjoyable. You sort of step on set and you just jump on the Roland Emmerich train. It’s an express train.
Added Hashim: “It was also fun getting to know him on a personal level. We practically did a tour of every restaurant in Rome, we had all types of pasta and, you know, during those dinners, you kind of get to see who Roland really is.
“A man at that point of his career still making time to listen to my stupid questions about ‘Independence Day’ and him being so happy to tell me about all the stories and willing to answer my questions.”
Beyond Everest — discovering Nepal as a non-trekker
From breathtaking nature to vibrant street life, Nepal is about much more than mountains
Updated 1 min 29 sec ago
Shyama Krishna Kumar
DUBAI: Nepal is best known as the entry point to the Himalayas and Mount Everest, but this beautiful country actually provides a host of options for all kinds of travelers — even those with no desire to summit a mountain.
From the bustling streets of Kathmandu and the tranquil lakeside views of Pokhara set against the Himalayas to the nature reserves of Chitwan National Park and the hilltop peace of Bandipur, Nepal is a treasure trove of all things travel — and that’s true whether you’re a backpacker travelling on a budget or a family looking to unwind.
A street in Kathmandu. (Shutterstock) fthaem
Our two-week trip to Nepal began in Kathmandu, and my husband and I opted to stay in the famed Thamel tourist district. Thamel is where you want to be if you love all things food, drinks, art, music and shopping — although it’s a shock to the senses if you’re not used to busy South Asian city life. There are dingy tattoo parlors, storefronts offering rows and rows of beaded jewelry and miscellaneous art, live music blaring from every drinking establishment (and there’s one every five steps you take), and the best street food you’ll ever taste — if you have the stomach for it.
Speaking of food, we ate momos (Nepal dumplings) for breakfast, lunch and dinner because no two places make it the same and they are all great. Shout out also to Thamel House Restaurant for the best traditional Nepali thali (platter) we had during our stay. ,
Thamel, Kathmandu. (Shutterstock)
We also took a day to explore the neighboring town of Patan. Once an independent city-state, it’s now considered a natural extension of Kathmandu. Its main attraction is Darbar Square, a UNESCO World Heritage Site where you will find a collection of ancient Hindu temples and palaces. After exploring the main square, you can head to a nearby rooftop café for beautiful views of the town.
No visit to Kathmandu is complete without a trip to the Swayambhunath Stupa — known locally as The Monkey Temple, for reasons that become immediately apparent when you visit. Be warned: the monkeys will try to steal anything you’re carrying, so they can trade it back to you for food. And these guys are sneaky.
The trek to the stupa involves climbing exactly 365 steps but the sprawling view of Kathmandu from the top, and the tranquil vibe of the temple itself, are well worth the climb.
Our next destination was Pokhara, the gateway to the Annapurna Circuit, a famed trail in the Himalayas, popular with hippies, vagabonds and of course, trekkers of all kinds.
But trekkers we are not. We’d arrived in the beautiful postcard-perfect lakeside town for some well-earned downtime. And some uptime — I decided to get in touch with my mortality with a thrilling paragliding session over the gorgeous Phewa Lake, which brilliantly mirrors the mountains set against it.
Phewa Lake Pokhara. (Shutterstock)
We also spent an unforgettable afternoon kayaking there. If you venture out far enough, it really seems like it’s just you, the water, and the mountains.
It’s tempting to simply stay around the lake, but it’s well worth exploring Pokhara’s Old Town with its many ancient temples and traditional architecture.
Next, we spent three days in the cozy little hilltop village of Bandipur, immediately appreciating the total absence of tooting horns and exhaust fumes — motorized vehicles are banned within this historic hidden gem of a town, which was once an important stop on the Tibetan trade route. Its center consists of a single cobblestoned street, flanked on both sides by 18th-century buildings painted in pastel colors reminiscent of quaint little European towns. And there are a few old Hindu temples to be found too.
Most of Bandipur’s buildings have been restored, and are now quaint guesthouses and/or cafés. We stayed at The Old Inn, a charming traditional guesthouse with a terrace that has breathtaking views of the Annapurna range and the valley below Bandipur.
While our stay at Bandipur was mostly focused on enjoying its bougainvillea-draped coffee houses, leisurely strolls through the town, and sampling baked goods and traditional thalis, we also made time for a short hike uphill to the Thani Mai temple around sunset, where we were rewarded with more beautiful views of the town from above, bathed in golden light.
And just like that, even though Bandipur was added as a hasty afterthought to our itinerary, it became our favorite stop of the entire trip.
Saudi contemporary artist Sultan bin Fahad discusses his favorite works
‘My medium is storytelling,’ says Sultan bin Fahad
Updated 05 September 2024
Adam Grundey
DUBAI: The Riyadh-born, New York-based contemporary artist Sultan bin Fahad has been creating artworks since childhood. But, he says, he didn’t know that’s what he was doing for a long time.
“I always felt like I had a certain creativity in me,” he tells Arab News. “I was making what I called ‘things.’ But it was a hobby, you know? I thought it was like interior design — decorating my room. I didn’t know it could be considered art.”
At the time, bin Fahad was focused on building a career in the navy and on taekwondo. He had realistic hopes of competing in the 1992 Olympics in Barcelona, he says. But a series of injuries put paid to both of those dreams, and left him wondering what to do next.
He ended up studying business in San Francisco, where his accommodation was close to an art academy.
(Supplied)
“I’d pass by and see their work; that was the first time I was exposed to modern and contemporary art. And I realized, ‘Oh. So whatever I’ve been doing is probably considered some sort of art.’” He laughs. “That’s how I became aware of my ability to create artworks.”
He has become known particularly for his intricate and colorful beaded works, often created by artisans from the Hausa tribe in Nigeria.
“They have an interesting story,” he says. “They are Muslims, they study the Qur’an. But they kept the language of their tribe. They know all about Saudi. You can actually find descendants of the same tribe in Jeddah and Makkah. Back in the day, they travelled or went for Hajj and they never left. They stayed there for three or four generations.”
Beyond the physical side of his work, however, he says the most important thing is that each piece tells a story.
“I always say my medium is storytelling. I hate it when you show someone something and they say, ‘OK, what am I looking at?’ That means you definitely failed to show any emotion in your work. Like, I still make abstract paintings, and there is basically nothing to say about them. But people forget that there is an emotion when you look at something: you might feel happy, you might feel sad, you might be attracted to the colors. But if you look at any piece and you don’t get any idea in the first 10 seconds, then I failed.”
Here, bin Fahad talks us through some of his most significant works.
‘Delights III’
This series, “Delights,” came about during COVID lockdowns. I collect a lot of found objects, because they inspire me. I’d found these small gift boxes that used to have candy or nuts in. They come with different phrases on them, like, “May your day be filled with happiness and joy.” And there’s always a picture of shaking hands. The handshake is a universal gesture. And during COVID, we didn’t have that. People didn’t shake hands. Some people didn’t even see anyone. It was a dark time. So I thought, “OK, what if we had something in people’s homes, to give joy and a little hope?” First of all, I did a series of beaded works, and they were shown in an online art fair. Then this friend of mine who is a carpet maker had the idea of making carpets designed by artists from the GCC. And they chose me to represent Saudi. So, I designed this carpet. It’s this whole concept of hopeful, beautiful work that you can see every day and can give you good energy. It’s not an artwork; it’s part of the house. It’s living with you.
‘Desert Kite’
This was created for Desert X AlUla. AlUla is so beautiful. You can’t compete with it. So I wanted something that would basically separate you from the environment; something with walls, so you don’t know what’s around you and you can basically listen to the environment — to silence.
I have this fascination with history and heritage. There are these very interesting structures around the north west of Saudi and the south of Jordan: desert kites. The first time they discovered them was, I think, during World War Two. They were flying over them. You only can see them from above. And I wondered what their purpose was. Some people say that they’re prehistoric animal traps from thousands of years ago, so my intention was to create something telling that story, so that little blue-green object inside? That’s like the bait — food or water. That makes the animal go inside. Then they’re trapped. And inside the sculpture (on the walls) are a lot of mythical animals: the Medusa, the eagle, the Sphinx — and they’re all trapped in there too. And inside you can sit and actually listen to silence, which is very unusual in a place that is open like that. It’s very interesting.
One thing I really liked with this work was people’s interpretation of it. A lot of people said it looked like a keyhole — so it was the key to another culture or civilization; or it was the key between the sky and the Earth. I liked how people became their own curator. I’m happy to have people interpret my work the way they see it — as long as they get something out of it.
‘Window’
This was for my project “The Red Palace.” It’s one of my dearest projects. It made me comfortable with what I’m doing. This was my first real installation work, and my first time really doing something conceptual — almost like theater. And it was my first project with the Hausa artisans. And it’s dear to me because it’s a building I was really inspired by — I always used to walk past it as a kid and I always loved it. It defined architecture in Riyadh and it’s central to the history of Saudi Arabia, whether as a royal palace or as a government building. Everything from the Forties or Fifties to the Nineties was run from that palace.
The whole idea started with Diriyah Season. They wanted to do an exhibition, and I had this idea of doing a performance called “The Royal Dinner.” During that time, King Saud had three chefs, and they’d have a set menu. People think that, in Saudi Arabia at that time, it was all Bedouin. But no, we had sophistication. But nobody talks about it, and it’s not in in books. So I wanted to recreate this royal banquet to celebrate those behind the scenes; the labor that people don’t know about. I submitted this idea to the Ministry of Culture, and they approved it. So then I went and visited the palace, and I was like, “OK, this is much bigger than my idea, why don’t we expand it?” So we did a lot more, including “Window,” which has actually now been acquired by the Guggenheim Abu Dhabi. It’s another dear work to me, because each window was reclaimed from a region of the Kingdom. And it’s backlit, so it shows you how beautiful it would feel to be in those houses with those windows. And it unifies all the regions into one. Like a lot of my work, it’s also nostalgic. When you see those windows, you think back: “Oh, I remember the time when we were kids and playing here and there.”
‘Trust’
These chairs were thrones for my “Red Palace” project. When I was looking into doing some beaded work — I wanted to do something in Africa, generally — I didn’t know how to get a contact. I saw I had an Instagram follower from Nigeria. I had no idea who she was. I just DM’d her, and asked if she knew anyone who could make beading work in Nigeria. She said she didn’t, but she could look into it. And she found someone. I showed them what I wanted to do — this was for “The Red Palace” — and while I was doing that, she messaged me and said: ‘Can I ask you a question? Why did you trust me to do this?’ I said, ‘Well, if you want something done, you have to trust someone.” Otherwise I’d have to have travelled myself, you know? When I told the curator this story, she said, “We have to call that piece ‘Trust.’” Because that’s what it was based on. This collaborative work we did, with workmanship like this, they don’t know how to create something new; they just work on what they know — they bead chairs traditionally. I needed to see if they could do it the way I wanted it to be. But that first collaboration led to a lot of other pieces, because they were open to the idea of doing it in a different form. That’s where the trust came from.
‘Masallaci’
This work is very dear to me. It’s a giving-back-to-the-community work. It’s a beautiful story. During the time when I was doing “The Red Palace” and “Trust,” the Hausa people that were working with me, they work in a village next to Abuja in Nigeria. When they have work, they travel there from their villages and they rent part of the place they’re working in for accommodation. I asked them where they prayed. It kind of made me feel like responsible, like I needed to support the community that was working for me. So, I asked them to decorate part of the place they were working in as a mosque — in their own way, their own traditions, their own language; the writing you see is the Hausa language, not Arabic — in exchange for me renting the space for them, to pray and live and work, for a whole year. Everything inside the mosque is beaded, except the floor. Even the furniture. And they sent a turban for me — you can see it in the picture, a little white turban. The imam of the mosque in Nigeria wears this turban, so this was their gift for me. It’s one of my favorite works. And it was really a collaboration; they designed it themselves, I just gave them the idea.
‘Laser’
This project was called “GWPOW” — which stands for Gulf War Prisoners of War. It’s about the Gulf War, but it’s also relevant to what’s happening now in Gaza. It’s about how life is stolen from kids who become soldiers when they’re supposed to be playing and living. They don’t take the decision, somebody else does.
I was 19 during the first Gulf War. I wanted to volunteer but I couldn’t, because of my injuries — I’d just had my second knee surgery. So I ended up volunteering as a translator. I went and saw the prisoners of war. Some of them were younger than me. They were, like, 16. They didn’t know what they were fighting for. They were just pushed into the war.
So this project was about the war, but it’s also thinking about those kids. They were supposed to be playing, not fighting. So I was thinking, ‘How can I portray those kids living during that time, in the desert, waiting to fight or to be killed?’ So this project became, like, a playroom for grownups. A recreation center in a war zone — everything is kind of childish. This is one of maybe six paintings I did as part of it, along with beaded works. It’s a pencil drawing, but there’s some collage on it, and some abstract painting, and some ink, so it’s mixed media. So the guy holding the lightsaber, that helmet looks like Darth Vader, but it’s not. It’s the helmet of Saddam Hussein’s Fedayeen corps. And I imagined these kids thinking of being a superhero.
‘Possession’
I saw these people at the Prophet’s Mosque in Madinah. At certain times they open it for women, and they allow people to go privately. I was there with my mom and my family and there were screens, and there were these ladies touching the screens. And to me, it felt like, for them, they were in the highest stage of being possessed by religion, in a good way. Feeling invulnerable. They felt like they are connecting with the Prophet. I mean, I don’t know what it meant to them. I don’t know why they were doing it, but it felt so passionate. And it touched me. I felt like, if it gives them satisfaction, let them do it. It felt surreal to me — but I felt their passion.
‘Once Was A Ruler’
This is a combination of different antiquities that were in the National Museum. I was working there at the time. I wanted to talk about something that is taboo. A lot of people think that these pieces are statues of gods. That’s why they’re hidden away. But at that time, these civilizations were not making big sculptures of their gods, they were making them of themselves. They were a sign of power. So I made it look like an X-ray, and I put human bones on it to show that they are human. They were once a ruler, yes, but a person, not a god.
‘R III’
“R III” means Ramses the Third. I did this in Egypt, at the Pyramids of Giza. Like with AlUla, this is a place I am in awe of. Like, I can’t compete with nature or with history, so I tried to work with it, complementing the place without actually trying to put my force or my creative energy in it. I was humbled in these places. So, I can’t compete with the Pyramids, but I tried to make something inspired by them. When you look at it from above, you see it has the seal of Ramses the Third. That seal has been found near AlUla, and that means he was probably there — not for fighting, but probably exploring, looking for copper or something — because the pharaohs wouldn’t usually let their seals be carried by others. So I wanted to show this bridge between Ancient Egypt and Saudi Arabia.
Kawthar Alhoraish: ‘I feel a deep sense of pride as a Saudi designer’
The Kaf by Kaf founder is a finalist in this year’s FTA Awards
Updated 05 September 2024
Hams Saleh
DUBAI: Kawthar Alhoraish, founder of Kaf by Kaf, has established herself as a prominent figure in Saudi Arabia’s burgeoning fashion scene. Her recent nomination as a finalist for the Ready-to-Wear Award at the 2024 Fashion Trust Arabia Awards is a testament to her growing influence — placing her in a select group of designers from across the region, each vying for one of the most prestigious accolades in Middle Eastern fashion — and reflecting her dedication to her craft and her commitment to showcasing Saudi culture on the international stage.
“It’s a dream come true to be recognized alongside such talented designers from the region. I am deeply grateful for the support and encouragement I have received from my team, family, and the fashion community,” Alhoraish tells Arab News. “As a Saudi designer, I feel a deep sense of pride and responsibility to showcase the beauty and diversity of our culture through my work. I hope to inspire other Saudi designers and encourage them to pursue their dreams in the world of fashion.”
Her FTA nomination, Alhoraish knows, will give her a platform on which to showcase her work to a broader audience, attract new customers and engage with potential retailers and investors. “This recognition can open up new doors and opportunities for my business,” she said.
There’s also the small matter of financial grants ranging from $100,000 to $200,000 for the winners, depending on the size of their business, plus another $50,000 for the recipient of the Franca Sozzani Debut Talent Award. Collections from the winners in the Evening Wear, Ready-to-Wear, Accessories, and Jewelry categories will also be showcased by the FTA’s retail partner, Harrods, for one season, providing invaluable exposure on a global stage.
“The impact of having my collection showcased at Harrods would be immense for Kaf by Kaf. It would elevate the brand’s prestige and credibility on the global stage,” Alhoraish says. “The association with such a prestigious department store would lend a sense of luxury and exclusivity to the brand, further solidifying its position as a leading name in Saudi fashion.”
The winner of the Ready-to-Wear category, for which Alhoraish is a finalist, will also receive an internship in London with Huntsman and create a capsule collection to be sold on the retailer’s e-commerce platform. Furthermore, luxury ethical fashion retail platform Maison De Mode will provide a tailored mentorship to all seven winners, focusing on the importance of sustainability and ethical fashion practices.
Alhoraish has already made plans for the financial grant if she wins, including investing in expanding her business — which she founded in 2019 — across the Middle East and North Africa region and into global markets.
“I would invest in new equipment and machinery to increase production capacity and meet growing demands. I would also use the funds to explore new product categories, such as accessories or home goods, while staying true to the brand’s aesthetic.” she explains.
Alhoraish’s designs — which employ intricate textiles, vibrant colors, and traditional craftsmanship — are influenced by her Saudi heritage, which she blends with modern touches.
“For example, I might use traditional embroidery techniques on contemporary silhouettes or incorporate traditional patterns into a more minimalist design,” she says. “I also believe in the power of storytelling, and I often draw inspiration from historical events or cultural narratives to create designs that have a deeper meaning.”
Regardless of the outcome of the FTA Awards, Alhoraish has ambitious plans for Kaf by Kaf.
“Within Saudi Arabia, I aim to establish the brand as a leading luxury fashion label, renowned for its quality, craftsmanship and cultural significance,” she says. “I envision Kaf by Kaf becoming a household name, synonymous with elegance and sophistication.”
Film exploring culinary heritage of Saudi Arabia’s Asir region wins award
Collaboration between Saudi Arabia’s national tourism brand “Saudi, Welcome to Arabia” and CNBC, the film explores the gastronomic heritage of the Asir region
Film follows first time visitors to Saudi — US travel influencer Mac Candee and his fiance, Mabelle Chedid, as they discover the hospitality of the Asiri people
Updated 05 September 2024
Arab News
RIYADH: A film exploring the culinary heritage of Saudi Arabia’s Asir region has won an international award.
“Adventures in Saudi: Taste of Aseer” won the “Culinary Journeys” category at the International Institute of Gastronomy, Culture, Arts and Tourism International Food Film Menu 2024 awards.
A collaboration between Saudi Arabia’s national tourism brand “Saudi, Welcome to Arabia” and broadcaster CNBC, the film explores the gastronomic heritage of the Asir region and highlights the diversity of the Kingdom’s landscapes and culture. With a strong farm-to-table ethos ingrained in its culture, Asir is known for its cuisine, with traditional methods still in use today.
The film follows first time visitors to Saudi — US travel influencer Mac Candee and his fiance, Mabelle Chedid, as they discover the hospitality of the Asiri people and the connections between its land and flavors. The film captures the couple hiking through the mist-swirled mountain valleys of Soudah, exploring centuries-old cooking techniques and tasting dishes passed down through generations while visiting a traditional majlis.
The award highlights the Kingdom’s growing reputation as a destination offering authentic cultural experiences and natural beauty. The Saudi Tourism Authority has been at the forefront of these efforts, using international platforms to showcase stories that highlight the Kingdom’s diverse regions. Asir was named the World Region of Gastronomy 2024 by IGCAT — the first destination outside Europe to earn the accolade.
The organization’s Food Film Menu project aims to raise awareness about the importance of cultural uniqueness as a step toward averting climate change, placing a spotlight on regions from across the globe and their food heritage. The winning entries were selected by an expert jury, and will be published on IGCAT’s website and social media channels.
The Kingdom is easing travel requirements through the eVisa program. Visitors from 66 countries can now quickly obtain visas online, with special provisions for GCC residents, UK, US, or Schengen visa holders, and residents of the UK, US, or EU.
Saudi artist Raghad Al-Ahmad infuses Kingdom’s landscape and identity into new Adidas collection
Designer’s ‘Bloom Sky’ collection also includes abayas and hijabs
Inspired by poem written by Makkah Gov. Prince Khaled Al-Faisal
Updated 04 September 2024
Shyama Krishna Kumar
DUBAI: For Saudi Arabian artist Raghad Al-Ahmad, the chance to incorporate her roots and identity into the fabric of the famed apparel company Adidas was a dream come true.
The collection — called “Bloom Sky” — features the usual crop of functional unisex pieces including pants, shorts, sweaters, jackets, hoodies and t-shirts.
Jeddah-born multidisciplinary artist Raghad Al-Ahmad designed the newest collection from Adidas. (Supplied)
In addition, it has women’s modest-wear pieces including abayas and hijabs, all with a distinct Al-Ahmad touch.
“I believe we need to respect and integrate cultural elements into our collection. By including modest wear, we can connect with individuals who value this aspect of their culture, creating a complete experience,” said Al-Ahmad during a recent interview with Arab News.
“As a designer who wears abayas daily and strives to be modest through layering and matching, I understand the importance of these elements. Adding them to our collection will have a significant impact, allowing us to craft something that truly resonates with the culture we are embracing.”
The name of the collection is inspired by a poem by Makkah Gov. Prince Khaled Al-Faisal, who is renowned for his verse. The first sentence of the Arabic poem translates to: “The sky is pink and my desert is blooming.”
“As an Arab, I have grown up in a culture where poetry is a significant form of expression. I remember my grandmother always reading poems she had written, and my mother, who loved collecting poetry books.
She added that members of the royal family write poems, which are sometimes turned into songs. “I am particularly inspired by King Khaled’s poetry and his vivid descriptions of the natural world around him,” said Al-Ahmad.
The collection features women’s modest-wear pieces including abayas and hijabs. (Supplied)
The collection, which depicts iconography symbolizing flowers and stars, is an ode to all things Saudi and Al-Ahmad took inspiration from her everyday surroundings.
“My dad, an adventurer, retired from flight maintenance and began exploring Saudi Arabia in his motorhome. He opened a gateway to the country’s wonderful nature, camping amid the desert’s beauty.
“He introduced me to the captivating Saudi lavender flowers, showing his happiness surrounded by them in the desert. We found inspiration in the contrast between the sand’s color and the vibrant lavender,” said the Jeddah-born artist.
For example, in 2021, Al-Ahmad collaborated with luxury French label Jean Paul Gaultier to create playing cards that represent and celebrate the Kingdom’s culture on the occasion of Saudi National Day.
The “Bloom Sky” collection is part of Adidas’ efforts to collaborate and spotlight artists from the region. And also highlight their commitment to modesty and responsible consumption, whilst celebrating diversity and inclusivity.
“I was amazed by the Adidas team’s curiosity and their ability to adopt my culture in many ways, translating it into a product that everyone appreciates.
“The team paid attention to every detail, and for that, I am deeply grateful. Special thanks to each member … for bringing my culture into an innovative approach,” said Al-Ahmad.
