KSA’s King Abdul Aziz Camel Festival attracts visitors from around the world

The King Abdul Aziz Camel Festival seeks to connect the new generation to the ancient Arab heritage. (SPA)
Updated 26 February 2019
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KSA’s King Abdul Aziz Camel Festival attracts visitors from around the world

  • The event focuses on Saudi cultural heritage, with camels having played an important role in the region

JEDDAH: The third King Abdul Aziz Camel Festival, in the southern Sayahdah district of Al-Dahnaa southeast of Riyadh, has attracted camel lovers and camel racing enthusiasts from Gulf and Arab countries.

The bleachers of the festival and the Saudi Camel Village were crowded with participants and visitors enjoying the event.

The Omani Royal Camel Corps performed four shows in the festival’s open-air theater while playing their own music amid considerable interaction from the audience.

The show began with the band riding on camels and presenting different formations in a circular shape, with seven camels moving in a circular motion and running fast, led by one man who controlled them with long ropes in a simulation of circus horses. 

There was also a show of Al-Azi art, which is attributed to the skill of praise and pride, in addition to a final show that gathered the camels in one place and had a camel with a banner that said “Thank you,” while another camel raised a bouquet of roses with its mouth to signal the end of the shows. 

Mohammed bin Khalifah, an Emirati who has been attending the festival since it began on Feb. 5, praised the event: “After having attended the previous King Abdul Aziz Camel Festival, I have come to this year’s festival with my friends and noticed that it has significantly changed.” 

He said that he attended several camel beauty contests but had never seen camels that were as beautiful as the ones at the King Abdul Aziz Camel Festival.

“The beauty contest is made unique by the exciting competition between camel owners to the point that we are following all the results on the Camel Club’s Twitter account,” he said. 

Egypt participated in the camel races at the festival with 29 camels. The head of the competitions committee at the Egyptian Camel Federation, Salama Abu El-Nada, said that camel corps have come from all Egyptian governorates. 

Abu El-Nada said that the participation of the Egyptian camel corps will be at the end of the festival from March 11 to 20.

He expressed his pride that the Egyptian camel corps will be participating in one of the most important camel racing events in the world.

On the sidelines of the festival, the Camel Museum exhibits the history of camels in Islam and Arab countries and how they evolved throughout history.

The museum aims to identify and review the history of camels and the stages of their evolution through murals decorating the museum.

The museum also features a mummified statuette of Khuzama, one of the camels participating in past editions of the festival. It represents the beauty of camels and the use of the latest means of mummification. 

The Camel Museum included an overview of camel models, types, and benefits, as well as paintings and drawings made of camel hair, showing the beauty and detail of its craftsmanship.


Saudi Arabia witnessing comprehensive cultural development, says expert

Updated 14 February 2026
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Saudi Arabia witnessing comprehensive cultural development, says expert

  • Clotilde Entrecanales of Acciona hails pace of change in Kingdom

JEDDAH: Museums, exhibitions and art centers play a crucial role in the development of free and educated societies such as the one now burgeoning in Saudi Arabia, an expert has told Arab News.

Clotilde Entrecanales, the Spanish art historian and cultural executive who heads Acciona Living & Culture, a leading creator of technology-driven interactive museums, exhibits and events, said the Kingdom is making efforts to expand the role of culture development to show the world the greatest possible cultural offer.

She added that the Kingdom has quickly infused new energy into the region, and is rapidly establishing itself as a global cultural hub through massive investment in world-class museums, public art and international events, aligning with its 2030 vision.

She said: “With around 70 percent of the population under 30, cultural consumption looks very different than in Europe or the US. These spaces can’t feel like quiet, isolated institutions … they need to be fast, dynamic, brave and deeply connected to the city, blending into everyday urban life rather than sitting apart from it.”

Asked about the role of these sites in the evolving global cultural landscape, particularly in emerging cultural hubs like Saudi Arabia, Entrecanales said: “Our vision is to be a purpose-led partner for cultural and entertainment institutions, helping them be more relevant, connected, inclusive and sustainable.”

She added: “In emerging cultural hubs like Saudi Arabia, that approach feels especially relevant. The cultural transformation underway is moving fast — with major heritage and cultural destinations being developed and opened to the world.”

Speaking about her impression of the Kingdom’s approach to blending heritage with modernity face, Entrecanales said: “Others who attempt to achieve this balance often end up turning heritage into a theme, a layer of storytelling or a cultural program. What feels different about Saudi’s approach is how much pressure there is to treat heritage as the foundation, not just the surface.

“When you’re building at this speed and scale, there’s always a risk that history becomes a backdrop instead of a backbone. The projects that work best are the ones that slow down just enough to let the past set the rhythm for the present.”

Regarding opportunities and challenges, she said: “The opportunity is nothing less than positioning Saudi Arabia as a global cultural center. The challenge, as always, lies in balancing the speed and scale of that ambition with long-term sustainability and a sense of authenticity that remains credible and rooted.”

She added: “You can really feel this in places like the Islamic Arts Biennale, which shows hundreds of historical artefacts of the Islamic world, while re-framing them through contemporary scenography and designs by some of the best design studios in the world; or in AlUla, a world-class heritage site that hosts a major contemporary platform like Desert X, allowing ancient context and present-day artistic practice to coexist in a way that feels genuine.”

Under her guidance, ACCIONA Cultura aspires to create museums and cultural experiences that function as landmarks while fostering sustainable, inclusive and immersive interactions.

She elaborated on how the company is integrating technology, culture, and sustainability to preserve and promote the region’s cultural heritage: “We always start with human connection and storytelling: what’s the story, what should people leave with? Tech comes later.”

Recently, ACCIONA Cultura has been involved in significant projects in Saudi Arabia and is looking forward for more.

She said: “Right now, for example, we’re designing and curating a museum gallery where the entire space is shaped by the practice of a Saudi artist. Another example is the Net Zero exhibition at the King Abdulaziz Center for World Culture (Ithra), where we brought together Saudi and international artists to explore sustainability and our relationship with the planet, including voices like Dina Haddadin, Mohammed Al-Faraj, and Zahrah Al-Ghamdi.”

She added: “One of the projects I’m most proud of isn’t a museum, but our NEXT IN Summit, which we’ve hosted in two editions in our ACCIONA Campus in Madrid, highlighting the Kingdom’s unprecedented cultural momentum as it builds future-facing institutions with a startup mindset.”

About further collaboration with Saudi Arabia, she said: “Let’s just say … something’s definitely simmering in the kitchen.”

Commenting on being recognized among the Blooloop 50 Museum Influencers for 2025, she said: “It means a lot. More than anything, it feels like a nod to the years of teamwork and dedication behind Acciona Cultura, rather than to me personally.”