Saudi Heritage Commission reveals findings of research into ancient mustatil sites in Hail

Special Saudi Heritage Commission reveals findings of research into ancient mustatil sites in Hail
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The Heritage Commission has revealed a number of discoveries related to long-term research into mustatils. (AN Photo/Jaafer Sadiq Alsaleh)
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Updated 19 September 2024
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Saudi Heritage Commission reveals findings of research into ancient mustatil sites in Hail

Saudi Heritage Commission reveals findings of research into ancient mustatil sites in Hail
  • The aim of the research was to investigate and catalog the massive stone structures in northern Saudi Arabia and the purposes for which they were built
  • The study is part of a larger Green Arabia project exploring the history of human expansion in the Arabian Peninsula during the Paleolithic period

RIYADH: The Saudi Heritage Commission has revealed a number of discoveries related to long-term research into ancient, monumental, rectangular, stone-walled structures in the Kingdom known as mustatils.

The study is part of a larger Green Arabia project exploring the history of human expansion in the Arabian Peninsula during the Paleolithic period.

“We have been working on this Green Arabia Project for about 15 years now, in full collaboration and partnership with our Saudi colleagues, especially from the Heritage Commission, Ministry of Culture, and King Saud University,” said Michael Petraglia, a professor and the director of the Australian Research Center for Human Evolution.

“We have been conducting consistent fieldwork in Saudi Arabia, uncovering archaeological sites that date back as far as 500,000 years (through) to the historic present.”

The study of the mustatils involved rigorous spatial analysis of 169 structures in the southern and western margins of the Nefud Desert in Hail Province.

“One of the major findings of our project is that the environments of Saudi Arabia have changed significantly over time,” Petraglia said.

“We know that the Saudi Arabia we see today is arid, with vast deserts, but it wasn’t always that way. There were periods in the past when Arabia was much greener, which is why we call it the Green Arabia Project.”

During this historical period there was considerably more rainfall, as a result of which there was an abundance of lakes and rivers.

“Those lakes and rivers provided fresh water, supporting hunter-gatherer communities and attracting a diverse array of wildlife,” Petraglia said.

“In the past, we had a lush landscape of savannas and grasslands, inhabited by hunter-gatherers and various animal species. In fact, some of our older archaeological sites even contain remains of hippos and elephants. That’s how green it was back then.”

The aim of the research, the findings of which were published in the scientific journal Holocene, was to investigate and catalog the mustatils in northern Saudi Arabia and explore the purposes for which they were built, and to shed light on the factors that influenced the development of Neolithic settlements in the northwestern Arabian Peninsula.

Researchers documented 169 mustatils, studying their shapes, sizes and locations, in an area covering 44,000 square kilometers, using satellite imaging and field visits that included excavation work.

The experts said the work has provided vital insights into the cultural beliefs, ideas, customs and traditions of the people who lived in the area during the Neolithic period, between 10,000 and 2000 B.C., including significant information about economic, social and religious aspects of their lives.

Their findings suggest the large structures, found on the outskirts of the Nefud Desert on hilltops at elevations of up to 950 meters above sea level, were built over a relatively short period of about 1,200 years, between 5400 and 4200 B.C.

The mustatils therefore offered expansive views of the surrounding landscape, suggesting that the choice of locations was deliberate, and in particular based on proximity to water sources and raw materials.

Excavations at the sites revealed animal remains, including the horns and bones of cattle, gazelle and goats, which are thought to have been offered as sacrifices to deities.

During an event on Wednesday to reveal the results of the research, the CEO of the Saudi Heritage Commission, Jasser Suleiman Al-Harbash, highlighted the role of archaeology in uncovering and understanding ancient societies, as well as advancements that have been made in this field under the Kingdom’s Vision 2030 plan for national development and diversification.

The research was carried out by the Saudi Heritage Commission in collaboration with local and international institutions including the Max Planck Institute for the Science of Human History, the University of Tubingen and the University of Cologne, all in Germany, King's College London, King Abdullah University of Science and Technology, King Saud University, Griffith University and the University of Queensland in Australia, the Smithsonian Institution in the US, and the University of Malta.


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.” 


New ‘Captain America’ movie is an exercise in empathy, says star Anthony Mackie

New ‘Captain America’ movie is an exercise in empathy, says star Anthony Mackie
Updated 21 February 2025
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New ‘Captain America’ movie is an exercise in empathy, says star Anthony Mackie

New ‘Captain America’ movie is an exercise in empathy, says star Anthony Mackie
  • Anthony Mackie and Harrison Ford discuss the Mackie’s first outing as iconic superhero 

DUBAI: In the latest, long-delayed, chapter of the Marvel Cinematic Universe — “Captain America: Brave New World,” directed by Julius Onah — audiences are ushered into a transformative new era as Anthony Mackie’s Sam Wilson takes up the iconic shield last wielded by Chris Evans’ Steve Rogers. 

Mackie says the role redefines what it means to be a superhero, especially because, unlike his predecessor, Wilson doesn’t have the advantage of taking a super-soldier serum. 

“I think (the film) has a huge amount of hope and empathy. Sam Wilson never took the super-serum. Being a counsellor and a humanitarian and a leader, there’s a certain amount of empathy and understanding that he has to go into conflicts with; brute force cannot be his first option. Because, for him, there’s consequences. He can actually die. He’s a regular person,” Mackie told Arab News. “I want people to see Sam Wilson and recognize a bit of themselves in him, because of how humane, humble, and kind he is.” 

Joining Mackie in this new era is Hollywood icon Harrison Ford, making his Marvel debut as President Thaddeus “Thunderbolt” Ross, a role he inherited from the late William Hurt. 

For Ford, who also portrays the Red Hulk in the film, stepping into the MCU was an unexpected but exciting challenge. 

“I (know) how successful and beloved these films are, and I thought it was an intriguing world to explore,” Ford said. “They brought me a part that had a little taste of everything. To play the president and the Red Hulk in the same film? I’ve never been offered anything like that before.” 

Director Julius Onah, Xosha Roquemore, and Anthony Mackie behind the scenes. (Supplied)

Beyond the spectacle, Ford was drawn to the film’s emotional core, particularly his character’s personal struggles. “I think we made a very entertaining film, but also one with real humanity. What attracted me was the dilemma he faces with his daughter, his estrangement, his past mistakes, and his desire to fix them. That failure intrigued me, especially in a Marvel film.” 

Producer Nate Moore says he’s especially grateful for Ford taking on the role. 

Danny Ramirez as The Falcon and Anthony Mackie in 'Captain America - Brave New World.' (Supplied)

“He’s a Hollywood legend — incredibly talented. And what’s great about Harrison is that he really loves Bill Hurt’s performance, and felt like he wanted to build on that, rather than do an imitation. So this Thunderbolt Ross is something Harrison crafted on his own, but based on where the character had been before,” said Moore. 

“And I think narratively, what’s cool is both Ross and Sam find themselves trying to fill really big shoes and ultimately find themselves on the opposite side of an issue that that puts them on a direct collision course, which is a ton of fun.” 

The film’s production hasn’t been without controversy. Apart from rumors of lengthy and extensive reshoots, “Brave New World” ran into further trouble when Israeli actress Shira Haas got the role of Ruth Bat-Seraph, aka Sabra, an Israeli superhero and Mossad agent. 

Takehiro Hira, Anthony Mackie, and Harrison Ford in 'Captain America - Brave New World.' (Supplied)

While the character’s Mossad ties and background have been scrubbed for the film, the character is still Israeli. 

“The Ruth Bat-Seraph that we meet in ‘Brave New World’ is different to her comic counterpart, as a lot of our heroes are,” Moore said. “Very rarely can we do a one-to-one translation of a comic book, because comics occupy such a different space, and sometimes they’re incredibly dated. But what we thought was interesting was our Ruth Bat-Seraph works within the US government, very close to President Ross, so her perspective on him is different to Sam’s, and that puts these two characters at odds.” 

Regardless of the film’s challenges, Moore believes it will resonate with audiences. 

“I think the film may be surprisingly emotional for some people, because it really asks the questions ‘Can a man be redeemed?’ And ‘Is there a way to find common ground with somebody who you assume to be in opposition to yourself?’ Art can only do so much, but I do think we live in a world that is increasingly complicated, where opinions are increasingly stratified, and Sam’s superpower is his empathy; he tries to build connections with people. And if people take that away with them, I think that’s a win.”