Treat yourself to an opulent iftar at the Ritz-Carlton Riyadh’s Al-Khaimah tent
The buffet promises to satisfy all, and options range from typical Saudi dishes to Chinese, Turkish and Indian fare
The desserts were particularly popular, with a wide array of gloriously sticky, stuffed baklava on show, as well as the usual Middle Eastern favorites
Updated 30 May 2018
NOOR NUGALI
RIYADH: In a setting fit for royalty, the Ritz-Carlton Riyadh welcomes guests to its Ramadan tent, Al-Khaimah, whose theme is inspired by Eastern and Arab culture. Upon arrival, guests are greeted warmly by the hotel staff.
Iftar is held in one of the hotel’s huge ballrooms. Each table is prepared with an abundance of Ramadan specialties, including dates, Arabic coffee, and appetizers such as hummus and baba ghanouj.
One of my favorite treats was the hotel’s unique cocktails that were distributed as soon as the call to prayer was heard. My preferred drink was the Taif Rose, made with pomegranate juice, sparkling water and a hint of rose essence — it truly is a refreshing, floral drink.
Al-Khaimah boasts delicious international cuisine in a beautiful, massive buffet. “We serve and cook with love,” said Saudi chef Sokayana Ali.
The 13 female chefs who work under her “have exquisite taste and cook with love,” she added.
“On a daily basis we cook traditional food for iftar and suhoor, but we add our own touches. That’s what makes it unique.” Each national cuisine is headed by a chef from that nationality.
The buffet promises to satisfy all, and options range from typical Saudi dishes to Chinese, Turkish and Indian fare.
The Saudi dishes they serves were spectacular, ranging from all the Kingdom’s regions, but made to an outstanding level of quality. It seemed that the jareesh — a popular Najdi dish consisting of boiled, cracked, or coarsely-ground wheat, mixed with meat — won the hearts (and stomachs) of many as the staff kept having to refill the platter.
The desserts were particularly popular, with a wide array of gloriously sticky, stuffed baklava on show, as well as the usual Middle Eastern favorites.
Prices range from $105 per adult to $53 for children between the ages of six to 12. Kids under the age of six dine for free.
If you are bringing the little ones along, you needn’t worry about things getting too loud or boisterous as the hotel offers a dedicated children’s area in its Strike Bowling Alley, where kids are treated to a program of activities, including face-painting, book-reading and a host of child-friendly movies.
Moroccan photographer Hassan Hajjaj captures the culture of AlUla
The acclaimed Moroccan photographer discusses his recent show in Saudi Arabia
Updated 15 min 14 sec ago
Adam Grundey
DUBAI: Early in February this year, Moroccan contemporary artist and photographer Hassan Hajjaj was given a reminder of just how high his star has risen. Within a few days of each other, Hajjaj had shows opening in the US, Morocco, and — as part of AlUla Arts Festival — Saudi Arabia.
Hajjaj’s playful portraiture, which incorporates vivid color, funky clothing (almost all of which he designs himself), geometric patterns, and — often — vintage brands from the MENA region, has made him internationally popular, and his instantly recognizable style has established him as one of the world’s leading photographers.
His show in AlUla consisted of images that he shot in the ancient oasis town in February 2023. That visit was initially supposed to involve shoots with around 20 local people. It’s the kind of thing he’s done a few times before, including in Oman and Abu Dhabi. “It’s always a good opportunity to get to know the culture and the people,” Hajjaj tells Arab News.
But, as he says himself, he arrived in AlUla as “an outsider,” so needed a team on the ground to persuade locals to come and sit (or stand, in most cases) for him.
“It was a bit tough, in the beginning, for them to find people,” Hajjaj explains. “But because it was during a period when lots of art things were happening in AlUla, there were lots of people coming from outside AlUla as well. So we opened it up. I basically said, ‘Just come.’
“In the end lots of people turned up, not just locals — people from Riyadh, Jeddah, and people (from overseas) too. I think I shot around 100 people over a few days. So it was a great opportunity,” he continues. “To get to shoot that many people over three days — organizing something like that for myself might take a year. So, as long as I have the energy, when I get these opportunities — you know, I’m in AlUla with this eclectic bunch of people — I’d rather go and grind it, really work hard, and have that moment.”
A Hassan Hajjaj shoot isn’t your regular portrait shoot, of course. “It’s almost like a performance,” he says. “There’s music, people dress up, it’s like a day out for them, taking them out of themselves for a few hours.”
He followed the same modus operandi in AlUla. “We got an ambience going. It was fun, there was music… I shot in this beautiful old school that was one of the first girls’ schools in Saudi Arabia, from the Sixties. Upstairs was like a museum — everything was like a standstill from the Seventies and Eighties; even the blackboards had the chalk and the writing from that time,” he says.
Alicia and Swizz. (Supplied)
A crucial part of Hajjaj’s practice is to ensure that his subjects are at ease and feel some connection with him (“comfortable” is a word he uses several times when talking about his shoots). While all his portraits bear his clearly defined style, it’s important to him that they should also show something unique to the people in them.
“It’s that old thing about capturing the spirit of the person in that split second, you know? I’m trying to get their personality and body language in the image,” he says. “Quite often I’m shooting in the street, outdoors, so (the subjects) can start looking at other people, thinking, ‘Are they looking at me?’ So I usually say, ‘Listen. This is a stage I’m building for you. I’m dressing you up, and we’re going to have fun.’ Then I just try and find that personality that can come out and make the image stronger. With some people, though, saying almost nothing can be better — just getting on with it. I try to kind of go invisible so it’s the camera, not the person, that’s doing the work. The best pictures come out when there’s some kind of comfortable moment between me and the person and the camera.”
It’s the way he’s worked since the beginning — a process that developed organically, as most of his early portraits were of “friends or friends of friends.”
Installation view. (AlUla Arts)
“There’s a comfort in that because you have a relationship with them. It made it easy,” he says. “And that taught me about how important it is to build trust with people to get into that comfortable zone. But as time went on, obviously, people could see the stuff in the press or on social media, so then people started, like, asking to be shot in that manner; maybe they’ve studied the poses of certain people and stuff like that, so they come ready to do some pose they’ve seen in my pictures. That’s quite funny.”
The work that was on display over the past two months in Hajjaj’s “AlUla 1445” is a perfect example of what he tries to achieve with his shoots. The images are vibrant, playful, and soulful, and the subjects run from a local goatherder through the AlUla football team to bona fide superstars: the US singer-songwriter Alicia Keys and her husband Swizz Beatz.
Hajjaj says he has a number of favorites “for different reasons,” including the goatherder.
AlUla F.C. (Supplied)
“He brought in two goats and it became quite abstract when you put all of them together. I was playing with that notion of the person; you could see that’s his life and even the goats look happy,” he explains. “I wanted to make sure they had that shine in the image as well. I got some great shots of him.”
The Alicia Keys and Swizz Beatz shoot has been a long time in the making. Hajjaj first met Swizz Beatz a decade ago, and they have been in touch intermittently ever since. The idea of a shoot with Keys first came up about five years ago, but logistics had always got in the way. But since they were playing a concert in AlUla at the same time as Hajjaj was there, it finally happened, on Hajjaj’s last day, with perhaps an hour left before the light faded.
I ask Hajjaj if his approach to shooting celebrities differs from his shots of “ordinary” people.
Hand On Heart. (Supplied)
“There’s probably not that much difference,” he says. “They’re coming into my world, so, again, it’s just making sure they’re comfortable with you and you’re comfortable with them; not looking at them (as celebrities). The only thing is you have to imagine they’ve been shot thousands of times — by top photographers, too — so they’re going to have their ways. So I just have to lock in with them and find that comfortable space between the sitter and me.”
And then there’s Ghadi Al-Sharif.
“It’s a beautiful picture. She’s got this smile, with her hand over her face. For me, that one really presents the light and the energy of AlUla,” Hajjaj says. “It captures the new generation.”
Ithra showcases Arab creatives at Milan Design Week
The Dhahran-based cultural center took part in the prestigious Italian fair last month
Updated 29 min 28 sec ago
Rawaa Talass
DUBAI: The King Abdulaziz Center for World Culture (Ithra) participated in Milan Design Week between Apr. 16 and 21. It was the second time Ithra has taken part in the annual event — a significant entry in Italy’s cultural calendar.
Ithra was founded with the goal of developing Saudi creative talent. Noura Alzamil, the center’s head of programs, has seen its influence mushroom since the beginning and continues to be in awe of her country’s rapidly developing art scene.
“Practicing it and seeing it every day around you and reading about it in articles and seeing that interaction and conversation on a national level, is really heartwarming,” she says.
Lameice Abu Aker's work on show at Milan Design Week. (Supplied)
“We’ve been active for the past 13 years, in collaboration with the Ministry of Culture, doing a lot of enriching programs, activations, bringing in new content and experimenting with our community and exposing them to arts, museums theatre, films,” Alzamil adds. “To me, investing in Saudi minds helps them excel in the future. I believe heavily in taking care of young talents, supporting professionals and having a global conversation.”
Ithra also houses what it bills as the region’s first ‘Material Library,’ displaying a variety of raw design materials. “Artists are all about experimentation,” Alzamil says. “The Material Library hosts hundreds of different materials that designers can come and play with.”
A cornerstone of Ithra’s programming is Tanween, a four-day conference that showcases creative designs from university students and emerging creatives from the region. The products from the conference are then exhibited in public events, such as Milan Design Week.
Joe Bou Abboud's work on display in Milan. (Supplied)
“To me, and to Ithra, it’s really important to showcase our efforts and Saudi and Arab designers in such festivals. Being presented among our peers there is something that we really care about,” says Alzamil. This year, Ithra presented an exhibition of items created by MENA artists in a wide range of mediums in Milan — the first time the center has presented a full show there.
Entitled “From Routes to Roots” and presented in collaboration with Isola (a Milan-based digital platform), the show included glasswork, clay, rugs and lighting. One of the key ideas of the exhibition was to demonstrate how creatives are preserving heritage and the Earth through circular design, which helps to eliminate waste from production.
“They used a lot of integrating bio materials, natural resources, household and industrial waste to come up with these innovative designs and objects that showcase and support sustainability,” Alzamil says.
Part of the 'Routes to Roots' exhibition at Milan Design Week. (Supplied)
Participating creatives hailing from the Levant, North Africa and the Gulf included Marwa Samy Studio, Ornamental by Lameice, Joe Bou Abboud, T Sakhi Studio, Bachir Mohamad, Studio Bazazo, and Mina Abouzahra.
“The exhibition draws inspiration and expertise from ancestral culture pairing it with cutting-edge craftsmanship, in a demonstration of how emerging talents can breathe fresh life into the design landscape, bridging the gap between tradition and innovation,” according to a press release.
Lebanese designer Bou Abboud presented a triad of round lighting fixtures that he says pay tribute to old Qatari jewelry, particularly long necklaces.
One of the more delicate pieces on view came courtesy of Jerusalem-based Palestinian designer Lameice Abu Aker. Her light-toned vases, jugs and drinking glasses are fluid and bubbly. She showcased a molecular-looking, violet vase called “Chemistry!” On Instagram, Abu Aker’s brand posted that the piece is “the perfect fusion of art and science, crafted with precision and care by our skilled artisans. Mouth-blown, every curve and line reflects the magic of the chemical reactions that inspired its name.”
Hanging textiles were also noticeably dominant in Ithra’s display. For instance, Doha-based artists Bachir Mohamad and Ahmad Al-Emadi collaborated on geometrical, symbol-heavy, blue-and-white rugs that are an homage to traditional Gulf Sadu weaving, historically practiced by Bedouins.
“It was really exciting,” Alzamil says of the show. “The team received a lot of visitors and different players in the field. . . It’s bridging the gaps between Saudi and international communities.”
London’s Arab Film Club launches podcast focusing on Palestine
Updated 37 min 49 sec ago
Hams Saleh
DUBAI: The Arab Film Club, a monthly gathering in London celebrating Arab cinema, launched a podcast on May 1.
Spearheaded by the club’s founder, Sarah Agha, an Irish Palestinian actress and writer, the inaugural five-episode season of the interview-based podcast will focus on Palestinian filmmakers and cinema’s role in cultural resistance.
The debut episode features Darin J. Sallam, director of “Farha,” Jordan’s Oscars entry in 2022. In other episodes, Agha interviews Lina Soualem, (“Bye Bye Tiberias”), Ameen Nayfeh (“200 Metres”) Annemarie Jacir (“Wajib”) and Farah Nabulsi (“The Teacher”).
Sarah Agha is an Irish Palestinian actress and writer. (Supplied)
Agha told Arab News, “It is so urgent right now to do anything and everything we can to keep talking about Palestine. So I thought, ‘Why not do some interviews with some of my favorite Palestinian directors and put them online so everyone can listen to them?”
Reflecting on Sallam’s episode, Agha highlighted the transformative potential of cinema. “She is linking educational talks with her film, and I do believe her film is like a tool of change,” the presenter said.
Agha said she found Soualem’s documentary particularly intriguing, due to its departure from the scripted films typically showcased at the Arab Film Club.
“The Teacher” by Farah Nabulsi. (Supplied)
“I wanted to make an exception for Soualem’s film because it’s another portrayal of the Nakba, but in very different terrains — like, totally different,” she explained. “My father is from Tiberias, so I was also attracted to it for that reason.”
Agha believes her podcast is launching at a time when Palestinians are being censored in the arts.
“200 Metres” by Ameen Nayfeh. (Supplied)
“There’s been a lot of cancellations of events to do with Palestine and Palestinian narratives,” she said. “So I think the best thing that we can do is not succumb to hopelessness. The fact that they’re trying to silence voices means those voices are significant. You don’t silence something that’s irrelevant. For example, the fact that the Israeli government tried to pressure Netflix into removing Darin’s film shows that it’s important.”
Agha hopes the podcast will appeal to a diverse audience, including non-Arabs.
“That, for me, is a really big thing. If we just talk to ourselves all the time, we won’t really get any further with reaching a wider audience,” she said.
Hamas sending delegation to Egypt for further ceasefire talks in latest sign of progress
After months of stop-and-start negotiations, the ceasefire efforts appear to have reached a critical stage
Question remains whether Israel will accept end to war without reaching its stated goal of destroying Hamas
Updated 54 min 47 sec ago
AP
BEIRUT: Hamas said Thursday that it was sending a delegation to Egypt for further ceasefire talks, in a new sign of progress in attempts by international mediators to hammer out an agreement between Israel and the militant group to end the war in Gaza.
After months of stop-and-start negotiations, the ceasefire efforts appear to have reached a critical stage, with Egyptian and American mediators reporting signs of compromise in recent days. But chances for the deal remain entangled with the key question of whether Israel will accept an end to the war without reaching its stated goal of destroying Hamas.
The stakes in the ceasefire negotiations were made clear in a new UN report that said if the Israel-Hamas war stops today, it will still take until 2040 to rebuild all the homes that have been destroyed by nearly seven months of Israeli bombardment and ground offensives in Gaza. It warned that the impact of the damage to the economy will set back development for generations and will only get worse with every month fighting continues.
The proposal that US and Egyptian mediators have put to Hamas -– apparently with Israel’s acceptance — sets out a three-stage process that would bring an immediate six-week ceasefire and partial release of Israeli hostages, but also negotiations over a “permanent calm” that includes some sort of Israeli withdrawal from Gaza, according to an Egyptian official. Hamas is seeking guarantees for a full Israeli withdrawal and complete end to the war.
Hamas officials have sent mixed signals about the proposal in recent days. But on Thursday, its supreme leader, Ismail Haniyeh, said in a statement that he had spoken to Egypt’s intelligence chief and “stressed the positive spirit of the movement in studying the ceasefire proposal.”
The statement said that Hamas negotiators would travel to Cairo “to complete the ongoing discussions with the aim of working forward for an agreement.” Haniyeh said he had also spoken to the prime minister of Qatar, another key mediator in the process.
The brokers are hopeful that the deal will bring an end to a conflict that has killed more than 34,000 Palestinians, according to local health officials, caused widespread destruction and plunged the territory into a humanitarian crisis. They also hope a deal will avert an Israeli attack on Rafah, where more than half of Gaza’s 2.3 million people have sought shelter after fleeing battle zones elsewhere in the territory.
If Israel does agree to end the war in return for a full hostage release, it would be a major turnaround. Since Hamas’ Oct. 7 attack stunned Israel, its leaders have vowed not to stop their bombardment and ground offensives until the militant group is destroyed. They also say Israel must keep a military presence in Gaza and security control after the war to ensure Hamas doesn’t rebuild.
Publicly at least, Israeli Prime Minister Benjamin Netanyahu continues to insist that is the only acceptable endgame.
He has vowed that even if a ceasefire is reached, Israel will eventually attack Rafah, which he says is Hamas’ last stronghold in Gaza. He repeated his determination to do so in talks Wednesday with US Secretary of State Antony Blinken, who was in Israel on a regional tour to push the deal through.
The agreement’s immediate fate hinges on whether Hamas will accept uncertainty over the final phases to bring the initial six-week pause in fighting — and at least postpone what it is feared would be a devastating assault on Rafah.
Egypt has been privately assuring Hamas that the deal will mean a total end to the war. But the Egyptian official said Hamas says the text’s language is too vague and wants it to specify a complete Israeli pullout from all of Gaza. The official spoke on condition of anonymity to talk about the internal deliberations.
On Wednesday evening, however, the news looked less positive as Osama Hamdan, a top Hamas official, expressed skepticism, saying the group’s initial position was “negative.” Speaking to Hezbollah’s Al-Manar TV, he said that talks were still ongoing but would stop if Israel invades Rafah.
Blinken hiked up pressure on Hamas to accept, saying Israel had made “very important” compromises.
“There’s no time for further haggling. The deal is there,” Blinken said Wednesday before leaving for the US
An Israeli airstrike, meanwhile, killed at least five people, including a child, in Deir Al-Balah in central Gaza. The bodies were seen and counted by Associated Press journalists at a hospital.
The war broke out on Oct. 7. when Hamas militants broke into southern Israel and killed over 1,200 people, mostly Israelis, taking around 250 others hostage, some released during a ceasefire on November.
The Israel-Hamas war was sparked by the Oct. 7 raid into southern Israel in which militants killed around 1,200 people, mostly civilians, and abducted around 250 hostages. Hamas is believed to still hold around 100 hostages and the remains of more than 30 others.
Since then, Israel’s campaign in Gaza has wreaked vast destruction and brought a humanitarian disaster, with several hundred thousand Palestinians in northern Gaza facing imminent famine, according to the UN More than 80 percent of the population has been driven from their homes.
The “productive basis of the economy has been destroyed” and poverty is rising sharply among Palestinians, according to the report released Thursday by the United Nations Development Program and the Economic and Social Commission for Western Asia.
It said that in 2024, the entire Palestinian economy — including both Gaza and the West Bank -– has so far contracted 25.8 percent. If the war continues, the loss will reach a “staggering” 29 percent by July, it said. The West Bank economy has been hit by Israel’s decision to cancel the work permits for tens of thousands of laborers who depended on jobs inside Israel.
“These new figures warn that the suffering in Gaza will not end when the war does,” UNDP administrator Achim Steiner said. He warned of a “serious development crisis that jeopardizes the future of generations to come.”
KHAPLU, GILGIT-BALTISTAN: At least 20 people were killed and over a dozen others were injured after a bus plunged into a gorge in Pakistan’s northern Gilgit-Baltistan (GB) region, officials said on Friday.
The passenger bus was en route to the garrison city of Rawalpindi from Hunza when it plunged into a 300-meter-deep ravine near the Gunar Farm area in GB’s Diamer district, according to Sardar Sheheryar Khan, senior superintendent of police (SSP).
Rescue 1122, police and paramilitary Frontier Constabulary and GB Scouts immediately reached the site and shifted all bodies and injured persons to the Regional Headquarters Hospital in Chilas.
“Soon after the accident, announcements were made from loudspeakers of mosques and local people rushed to the site and joined hands with the administration for the rescue,” Khan told Arab News.
“Dozens of locals are at the hospital for blood donation. Emergency has been imposed at the hospital and all doctors and paramedical staff are busy treating the injured.”
The driver lost control of the bus, which carried 42 passengers, while navigating a curve and it fell into the ravine, according to officials.
“Among the five critically injured, two were shifted to Gilgit via road and three others will be airlifted by army helicopter soon,” Fiaz Ahmad, the Diamer deputy commissioner told reporters.
“Best treatment was being given to injured,” he added.
Prime Minister Shehbaz Sharif expressed regret over the loss of precious lives in the accident. “The prime minister issued directives to provide all possible medical aid to the injured,” Sharif’s office said in a statement.
Interior Minister Mohsin Naqvi extended his condolences to the families of the deceased. “We equally share the sorrow of the bereaved families in this hour of grief,” he said in a statement.
Road accidents are common in Pakistan, where traffic rules are rarely followed and roads, particularly in many rural areas, are in poor condition. In the mountainous Gilgit-Baltistan region, road tragedies are daily news.
In July 2023 alone, at least 41 people, including tourists, were killed in road mishaps across the region, according to rescue officials. In 2022, at least 77 people died and 467 were wounded in accidents in GB.
