Saudi contemporary artist Sultan bin Fahad: ‘My medium is storytelling’ 

Saudi contemporary artist Sultan bin Fahad: ‘My medium is storytelling’ 
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Updated 05 September 2024
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Saudi contemporary artist Sultan bin Fahad: ‘My medium is storytelling’ 

Saudi contemporary artist Sultan bin Fahad: ‘My medium is storytelling’ 

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.  

“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. 




‘Delights III’ 

 

‘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.  




‘Delights III’ 

‘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.”  




‘Window’ 

‘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.  




'Trust'

‘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.  




'Laser'

‘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.  




‘Once Was A Ruler’ 

‘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.  


Saudi interior minister, Syrian intelligence official discuss combating drug trafficking

Saudi interior minister, Syrian intelligence official discuss combating drug trafficking
Updated 8 min 16 sec ago
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Saudi interior minister, Syrian intelligence official discuss combating drug trafficking

Saudi interior minister, Syrian intelligence official discuss combating drug trafficking

RIYADH: Saudi Arabia’s Minister of Interior Prince Abdulaziz bin Saud bin Naif received in Riyadh on Thursday the deputy chief of Syria’s General Intelligence Service Muwaffaq Doukhi, the Saudi Press Agency said.

The officials discussed cooperation in the field of combating drug trafficking.

Director of Syria’s Anti-Narcotics Department Khaled Eid, Director of the Criminal Investigation Department Marwan Al-Ali, and a number of senior officials attended the meeting.

Doukhi and Eid visited earlier the General Directorate of Public Security and the General Directorate of Anti-Narcotics in Riyadh. 

The Syrian officials were briefed on the work mechanism, security tasks, and the latest technologies used in the directorates.


Israel says to have ‘safety restrictions’ at Al-Aqsa for Ramadan

Israel says to have ‘safety restrictions’ at Al-Aqsa for Ramadan
Updated 28 February 2025
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Israel says to have ‘safety restrictions’ at Al-Aqsa for Ramadan

Israel says to have ‘safety restrictions’ at Al-Aqsa for Ramadan
  • “The usual restrictions for public safety will be in place as they have been every year,” Israeli government spokesman David Mencer said
  • Only men aged 55 and older and women over 50 were allowed to enter the mosque

JERUSALEM: Israel said Thursday that it will implement what it called “safety restrictions” at the Al-Aqsa Mosque compound in Jerusalem’s Old City during the Muslim holy month of Ramadan, which begins over the weekend.
During Ramadan, hundreds of thousands of Palestinians come to pray at Al-Aqsa, the third holiest site in Islam located in East Jerusalem — a sector of the Holy City occupied and annexed by Israel.
This year, Ramadan coincides with a fragile ceasefire in Gaza, which has largely halted fighting after a devastating war that left tens of thousands dead in the Palestinian territory.
“The usual restrictions for public safety will be in place as they have been every year,” Israeli government spokesman David Mencer said in an online briefing to journalists.
Last year, amid the Gaza war, Israeli authorities imposed restrictions on visitors coming to Al-Aqsa, particularly on those Palestinians coming from the occupied West Bank.
Only men aged 55 and older and women over 50 were allowed to enter the mosque compound “for security reasons,” while thousands of Israeli police officers were deployed across Jerusalem’s Old City.
Mencer indicated that precautions would be taken again this year.
“What we cannot, of course, and no country would countenance is people seeking to foment violence and attacks on anyone else,” he said, without detailing this year’s police deployment.
The Al-Aqsa Mosque compound is a symbol of Palestinian national identity.
By longstanding convention, Jews are allowed to visit but not pray in the compound, which they revere as the site of their second temple, destroyed by the Romans in 70 AD.
In recent years, growing numbers of Jewish ultranationalists have defied the rules, including far-right politician Itamar Ben-Gvir, who publicly prayed there while serving as national security minister in 2023 and 2024.
The Israeli government has said repeatedly that it intends to uphold the status quo at the compound but Palestinian fears about its future have made it a flashpoint for violence.
Last year, Israel allowed Muslims to worship at Al-Aqsa in the same numbers as in previous year despite the war raging in Gaza.


Ethiopia, Somalia reaffirm ties after diplomatic row

Ethiopia, Somalia reaffirm ties after diplomatic row
Updated 27 February 2025
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Ethiopia, Somalia reaffirm ties after diplomatic row

Ethiopia, Somalia reaffirm ties after diplomatic row

MOGADISHU: Ethiopia’s Prime Minister Abiy Ahmed visited Somalia on Thursday and met with its President Hassan Sheikh Mohamud to reinforce their fragile reconciliation after a row over ties to a separatist region.
They discussed topics “including peace and security, economy, diplomacy and potential to build joint infrastructure,” Ahmed said in a message on X afterwards.
The Somali government said in a statement ahead of the meeting that they would also discuss “the fight against terrorism in the region.”
Residents reported mortar attacks in areas near Mogadishu airport shortly after the visiting delegation passed through it en route to the presidential palace.
It was unclear whether the attacks were linked to Abiy’s arrival.
Security officials at the airport said Abiy’s delegation safely left the airport without incident.
Somalia’s security situation is highly volatile, with the Islamist Al-Shabab group maintaining a presence in the country.
“Two rounds of mortar shells landed in Bulohubey neighborhood. An elderly woman was wounded after the shell exploded close to her house,” local resident Abdiraham Hassan told AFP.
A member of Ethiopia’s delegation told AFP they had not been aware of any mortar attacks.
Tension between the two countries mounted last year after Ethiopia struck a deal with the Somali breakaway region of Somaliland to gain access to the sea.
But they announced a full restoration of diplomatic ties in January following a deal mediated by Turkiye.
The two countries said in a joint statement that Thursday’s visit “reinforces the normalization of bilateral nations.”
Abiy said in his post after the meeting: “Regional thinking and collaboration are essential, and we are ready to work with Somalia to make this a reality.”
A source in the Somali presidential palace told AFP on Wednesday, on condition of anonymity, that Abiy’s visit was “part of a broader effort to complete and implement the Ankara agreement,” referring to the deal struck in the Turkish capital in December.
Somaliland said its January 2024 deal with Ethiopia would have led to Addis Ababa recognizing its independence — though that was never confirmed — in exchange for a long-desired naval base for the land-locked nation.
Mogadishu was furious over the deal and withdrew its ambassador from Ethiopia.
Following the rapprochement, the fate of Ethiopia’s deal with Somaliland remains uncertain.


How Saudi Arabia is using advanced automated systems to tackle traffic congestion

How Saudi Arabia is using advanced automated systems to tackle traffic congestion
Updated 27 February 2025
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How Saudi Arabia is using advanced automated systems to tackle traffic congestion

How Saudi Arabia is using advanced automated systems to tackle traffic congestion
  • SDAIA’s Sawaher is revolutionizing traffic management by harnessing data — from citywide trends down to individual streets
  • The upgrade has already cut road accident fatalities, reduced traffic, and improved the flow of vehicles during major events

RIYADH: Congestion is a major concern for residents of Saudi Arabia’s cities. Commuters in Riyadh alone lose an average of 52 hours in traffic annually, according to a 2024 estimate.

While projects like the Riyadh Metro, which opened the last of its lines in January, are doing their part to ease the flow of cars, the city’s population is still projected to grow from around 8 million today to 9.6 million in 2030, presenting further challenges.

The Saudi Data and AI Authority, in collaboration with government entities, has developed several systems that generate vast amounts of information on road traffic, ranging from a macro, citywide level to individual streets.

One of these is the Sawaher system, a national platform designed to analyze streams of images and videos using artificial intelligence and computer vision, providing real-time insights. One of its key use cases is in traffic management.

Another is the Smart C platform, which leverages data and artificial intelligence technologies to monitor, analyze, and predict operational indicators, supporting decision-making in smart city management. 

“Riyadh is becoming a very busy city, so we need to be innovative, we need to act fast,” Mohammed Al-Buqami, general manager of product development at SDAIA’s Estishraf, told Arab News. 

Mohammed Al-Buqami

The system developed by SDAIA analyzes data in detail, identifying accident hotspots and comparing seasonal fluctuations.

Areas with a high number of fatal accidents are assessed for whether or not signage or road infrastructure can be improved to cut down on collisions.

“Ramadan specifically will have different spots than any other month in the year,” Al-Buqami said, as working hours and commuting patterns shift during the holy month. 

When a recent event in Riyadh attracted a huge number of visitors, it caused a ripple effect of congestion. That is why SDAIA, in collaboration with government entities, decided to develop a new tool “to ensure that traffic at the gate does not cause congestion in the surrounding area or impact major roads,” Al-Buqami said.

Looking to the future and problems that may arise from a rising population, SDAIA is working to introduce new technologies, and recently carried out a bootcamp for budding AI experts who came up with the idea for a robot that detects cracks, potholes, and puddles on the city’s roads, as well as an automated accident response system.

While SDAIA is on the cutting edge of data analytics and automated traffic management, the Kingdom has been implementing advanced technology solutions for road safety for more than a decade. 

Saher, the automated penalty system, was developed in 2009 and launched the following year by the Ministry of Interior, using a network of cameras and radars.

The installation of Saher camera along major roads in Saudi Arabia have led to a reduction in speeding and reckless driving violations. (AN file photo)

When cameras detect a violation such as speeding, not wearing a seatbelt, texting while driving, or other such offenses, the system retrieves the vehicle owner’s details from the database and automatically issues a fine sent to the driver via SMS.

“The Saher system illustrates how AI and automation can revolutionize traffic enforcement and improve road safety,” Hasan Al-Ahmadi, associate professor at the Department of Civil Engineering at King Fahd University of Petroleum and Minerals, told Arab News.

Saher operates continuously, ensuring consistent enforcement of traffic laws without relying on human oversight.

DID YOU KNOW?

• By the end of 2023, Saudi Arabia had 15.1 million roadworthy vehicles — a 6.2 percent increase from 2022.

• In 2016, the country’s road traffic fatality rate was 28.8 per 100,000 people.

• Vision 2030 reforms have cut road deaths by 54 percent, dropping to 13.6 per 100,000 from 2016 to 2023.

It can identify and track road users moving through cities, automatically recognizing number plates and allowing law enforcement officers to pinpoint stolen or wanted vehicles.

Saher cameras are placed at regular intervals and their watchful eye can detect infractions as minor as changing lanes excessively or not leaving enough room between vehicles. 

Saher cameras are placed at regular intervals and their watchful eye can detect infractions as minor as changing lanes excessively or not leaving enough room between vehicles. (Supplied)

The system uses machine learning to study driver behaviors over time, identifying trends such as habitual speeding or repeated violations. Insights from this analysis are used for educational campaigns or stricter penalties for repeat offenders, said Al-Ahmadi, who has published a number of research papers on automation and road safety in Saudi Arabia.

The professor noted that a number of studies have shown decreases of up to 30 percent in speeding violations and red-light infractions since Saher was introduced. 

In Dammam, accident rates dropped by approximately 20 percent, while congestion was reduced by around 20 percent in Dammam and Jeddah. 

Congestion in Dammam's roads has been reduced by around 20 percent since the introduction of the Saher traffic monitoring system. (SPA file photo)

Meanwhile, studies also show that emergency response times improved by between 20-30 percent, Al-Ahmadi said.

In 2016, road accidents were the leading cause of death in Saudi Arabia. A total of 21 people were killed in crashes every day — almost one every hour. 

These findings spurred the government into action. By 2023, fatal accidents had fallen by 54 percent.

Data and analytics were a key part of this success, with the number of road cameras increasing by 320 percent from 2016 to 2021, according to a World Health Organization report. Analyzing data from the country’s death registry also played a part.

Al-Ahmadi sees a future where even more advanced technology can play a part in making Saudi Arabia’s roads safer.

As Saudi Arabia moves towards a more sustainable society, automated systems could also monitor vehicle emissions and impose penalties in high-pollution zones, says Assistant Professor Hasan Al-Ahmadi of KFUPM's Department of Civil Engineering. (Supplied)

Drone technology could be used for real-time traffic monitoring in areas with limited camera coverage, he said. Integrating intersection management systems with self-driving vehicles could be another advanced solution.

Al-Ahmadi also suggested that monitoring technology could be upgraded to analyze drivers’ facial expressions, blink rates, and head movements to detect fatigue or distraction.

As Saudi Arabia moves towards a more sustainable society, automated systems could also monitor vehicle emissions and impose penalties in high-pollution zones, Al-Ahmadi added. 

While the Kingdom’s cities continue to grow at a rapid rate, the problem of congestion and road safety is not going anywhere. 

However, with a combination of automated technology and continuous monitoring, as well as the introduction of new infrastructure projects, officials have found early success in reducing fatalities and look poised to keep the issue at bay.

 


BBC apologizes over Gaza documentary narrated by son of Hamas figure

BBC apologizes over Gaza documentary narrated by son of Hamas figure
Updated 27 February 2025
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BBC apologizes over Gaza documentary narrated by son of Hamas figure

BBC apologizes over Gaza documentary narrated by son of Hamas figure
  • The broadcaster said that it shared the blame for the “unacceptable” flaws with the production company
  • “BBC News takes full responsibility for these and the impact that these have had on the Corporation’s reputation. We apologize“

LONDON: The BBC apologized on Thursday for “serious flaws” in the making of a Gaza documentary after it emerged that the child narrator was the son of Hamas’s former deputy minister of agriculture.
The BBC removed its documentary, “Gaza: How To Survive A Warzone,” from its platform after a backlash and launched an immediate review into the “mistakes,” which it called “significant and damaging.”
The BBC said in a press release published Thursday that the review had identified “serious flaws in the making of this program,” which was produced by UK company Hoyo Films.
The broadcaster said that it shared the blame for the “unacceptable” flaws with the production company.
“BBC News takes full responsibility for these and the impact that these have had on the Corporation’s reputation. We apologize,” it added.


The independent production company was asked in writing “a number of times” during the making of the documentary about any potential connections the narrator might have with Hamas.
“Since transmission, they have acknowledged that they knew that the boy’s father was a deputy agriculture minister in the Hamas government; they have also acknowledged that they never told the BBC this fact,” said the press release.
“It was then the BBC’s own failing that we did not uncover that fact and the documentary was aired.”
The production company also revealed that they paid the boy’s mother “a limited sum of money” for the narration.
The BBC is seeking additional assurance that no money was paid directly or indirectly to Hamas.
UK culture minister Lisa Nandy told parliament earlier Thursday that she had demanded “cast-iron” guarantees that Hamas did not receive any money for the documentary after the opposition Conservative party brought an urgent question and called for a public inquiry.
“I also held discussions with the BBC director general earlier this week, at my request, in order to seek urgent answers about the checks and due diligence that should have been carried out,” she added.
The revelations sparked an angry response and led to protests outside the BBC’s London headquarters.
A spokesperson for Campaign Against Antisemitism (CAA) said: “The BBC’s bias and lack of accountability have led it to a new low, where it is a mouthpiece for terrorists and their supporters.”
The Telegraph also reported Tuesday that the Arabic words for Jew or Jews were changed to Israel or Israeli forces or removed from the documentary.
The broadcaster is now working to determine whether any disciplinary action is warranted “in relation to shortcomings in the making of this program.”
“This will include issues around the use of language, translation and continuity that have also been raised with the BBC,” it said.
The decision to remove the documentary from its catch-up service also led to criticism, with more than 500 TV and film workers — including former England footballer Gary Lineker — sending an open letter calling the move “politically-motivated censorship.”
“This film is an essential piece of journalism, offering an all-too-rare perspective on the lived experiences of Palestinian children living in unimaginable circumstances, which amplifies voices so often silenced,” said the letter.
The documentary was initially broadcast on February 17.