How the 1979 siege of Makkah unfolded

Makkah’s Grand Mosque under attack in November 1979. Armed men seized the mosque, locking 100,000 pilgrims and residents inside. (AFP)
Updated 20 November 2019
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How the 1979 siege of Makkah unfolded

JEDDAH: Throughout October 1979, close to a million Muslims from around the world had flooded into Makkah for Hajj, the pilgrimage to the spiritual heart of Islam that every physically and financially able believer is obliged to complete at least once in their lifetime.

On the morning of Nov. 20, the call to the first prayer summoned pilgrims from far and wide to the courtyard of the Grand Mosque.

Some were locals, others were visitors who had finished their Hajj pilgrimage two weeks earlier and delayed their departure to take part in this once-in-a-lifetime event, before bidding farewell to a place that for centuries had seen countless millions like them come and go.

It was a little after 5:15 a.m. The first shots rang out across the courtyard moments after the imam, 55-year-old Sheikh Mohammed Al-Subayil, had finished the fajr, the first prayer of the day.

Worshippers stood side by side, forming a circular formation around the Kaaba, as they welcomed the dawn of the new Islamic century. But among their number was a group of fanatics the like of which the Holy Mosque had never seen before.

In the courtyard behind where Al-Subayil stood, the siege of the mosque claimed its first victims — two unarmed police guards gunned down at their posts.

As chaos ensued and the worshippers began to disperse, some managing to flee from the mosque in the confusion before the gates were closed by the attackers, three armed men pushed their way through the crowd toward the imam.

One, dressed in a short, ragged traditional dress, took the microphone and began issuing orders over the mosque’s loudspeakers.  “Get on the minarets! Position the snipers! Close the doors! Deploy the guards! Position the guards and sentinels in front of the doors!”

It was the ring-leader, Juhayman Al-Otaibi. Then he handed the microphone to another man, and what he had to say shocked the imam and all who heard it.

The Mahdi, in the shape of Mohammed bin Abdullah Al-Qahtani, had arrived to wipe the world of its evils and was here among the armed men who had seized the mosque and were now locking inside 100,000 pilgrims and residents. The speaker rejected the authority of the Saudi royal family and the ulema, the senior theologians of Islam, as illegitimate. Now everyone present, he said, must come forward to swear the oath of allegiance to the Mahdi.

The man himself, carrying an automatic weapon, stepped forward. He stood near the Kaaba, as the false prophecy adopted by the renegades had predicted the Mahdi would. Juhayman’s men took it in turns to swear their allegiance and then began forcing the worshippers to follow suit.

In the confusion, the imam blended into the crowd and made his way to his office in the mosque. There, he called Sheikh Nasser bin Hamad Al-Rashid, president of the General Presidency for the Affairs of the Two Holy Mosques, and told him what was going on — and held the phone up so he could hear the gunshots that were ringing out.

At first, the official response to the wholly unanticipated outrage was confused.

“When these individuals took over the mosque, the first people to deal with them were the mosque police, who at that time were simply unarmed, and there to direct people where to go rather than to enforce security,” said Prince Turki, the then head of the General Intelligence Directorate who at the time of the attack was in Tunis, attending an Arab League summit with Crown Prince Fahd bin Abdul Aziz (later King Fahd).




The National Guard and the Saudi Army began arriving at the Grand Mosque in force to try to retake the building. (Asharq Al-Awsat)

Prince Abdullah bin Abdul Aziz (later King Abdullah), then head of the National Guard, was in Morocco. An early-morning phone call from Sheikh Nasser,
the senior cleric in charge of Makkah and Madinah, woke King Khaled to the news that the mosque had been seized. 

The king immediately ordered two senior members of the government, Defense Minister Prince Sultan bin Abdul Aziz, and Interior Minister Prince Naif bin Abdul Aziz, to assess the situation on the ground.

By 9 a.m. they had joined Makkah’s regional governor, Prince Fawwaz bin Abdul Aziz, in the holy city. Prince Turki, meanwhile, was on the first plane back to Jeddah. In Makkah the National Guard and the Saudi Army had begun arriving at the mosque in force.

At about 8 a.m., a lone police officer approaching the mosque in a jeep was wounded by sniper fire. Minutes later, a fusillade of fire from snipers posted on rooftops and in minarets greeted more officers who arrived on another side of the mosque, killing eight and wounding 36 more.

The behavior of the militants appalled all who witnessed it. In one incident, one of Juhayman’s snipers in a minaret had been shot dead by the security forces outside the mosque and was callously pushed to the ground from the balcony by his compatriots.

It later emerged that weapons, ammunition and food had been smuggled into the mosque before the siege. Some guns had been hidden in large construction containers. But others, taking advantage of the tradition of Islamic funeral prayers conducted by the imam within the sacred mosque, had been concealed in coffins.

“Using coffins of the dead to smuggle arms into the Grand Mosque — who could have thought of exploiting this?” said Rashed Al-Shashai, an artist who as a young boy heard tales of the siege from his grandfather, who worked at the mosque and narrowly avoided being taken hostage.

Inside the mosque, fear and confusion reigned. Juhayman’s men had begun allowing some of the hostages to leave, but it was clear that they had no intention of freeing any Saudis. Many were forced to swear allegiance to the so-called Mahdi.

With others, Al-Shashai’s grandfather moved toward the north of the mosque. As the infamous Mahdi “sermon” blared out of the speakers and occasional shots rang out, they hid behind pillars and looked for a way out.

“They had one of two choices,” said Al-Shashai. “Either they believe in the salvation of Juhayman or believe in their own salvation, search for it themselves and get out of the dilemma they found themselves in.”

They chose the latter and continued moving from one pillar to the next, heading toward the northern end of the Safa-Marwa gallery. It was here that several people, including Al-Shashai’s grandfather, were able to escape. 

By now the courtyard of the Grand Mosque, normally teeming with worshippers by this time on the first day of the new year, was eerily empty.

Juhayman’s men had forced men, women and children into the corridors of the mosque, and the silence was broken only by the crack of bullets as snipers fired on the surrounding security forces.

Juhayman: 40 years on
On the anniversary of the 1979 attack on Makkah's Grand Mosque, Arab News tells the full story of an unthinkable event that shocked the Islamic world and cast a shadow over Saudi society for decades

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Art is ‘translating feelings,’ says 16-year-old Saudi artist

Updated 5 sec ago
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Art is ‘translating feelings,’ says 16-year-old Saudi artist

  • Jawad Al-Omair has established himself as a painter, drawing inspiration from the beauty and pain surrounding him

RIYADH: While his classmates took part in sports activities, Saudi teenage artist Jawad Al-Omair daydreamed about the next time he would pick up a paintbrush or pencil to draw again.

At only 16 years of age, Al-Omair has established himself as an artist, drawing inspiration from the beauty and pain surrounding him.

Jawad Al-Omair said he noticed a dramatic change in his artistic abilities after being introduced to a group of local artists who taught him painting techniques to implement in his artworks. (Supplied)

He told Arab News that his breakthrough moment came when he discovered his artistic abilities in the third grade.

“All the kids used to go to play. I always found myself opening my notebook and just drawing. I remember one day, I drew something at school, and when I got home, I showed it to everyone. I told myself, ‘I should do this more often.’”

HIGHLIGHT

Jawad Al-Omair views color as an arsenal to communicate emotion in his artworks.

He uses acrylic paint to portray his vivid ideas on canvas.

Jawad Al-Omair said he noticed a dramatic change in his artistic abilities after being introduced to a group of local artists who taught him painting techniques to implement in his artworks. (Supplied)

“With every painting I do, I usually have a vision of what the color palette is going to be and the composition, and most importantly what message and feeling I am trying to deliver through the painting.”

The young artist views color as an arsenal to communicate emotion in his artworks. “If I wanted to paint something that conveys the feeling of being lost, I would usually use cool toned colors like greys and blues.”

Jawad Al-Omair said he noticed a dramatic change in his artistic abilities after being introduced to a group of local artists who taught him painting techniques to implement in his artworks. (Supplied)

Al-Omair said that he noticed a dramatic change in his artistic abilities after being introduced to a group of local artists who taught him painting techniques to implement in his artworks.

“Dana Almasoud is one of my best friends who has helped me so much. Three years ago, I used to be a completely different artist. I used to be unable to draw small portraits, but she taught me how to. I can’t picture how my life would be if I had not met them,” he said.

Jawad Al-Omair said he noticed a dramatic change in his artistic abilities after being introduced to a group of local artists who taught him painting techniques to implement in his artworks. (Supplied)

In a recent artwork, Al-Omair painted a large-scale self-portrait inspired by the style of John Singer Sargent, an American artist renowned for his portrait paintings in the late 19th and early 20th centuries.

He described Sargent as one of his favorite artists. “If you see his self-portrait, It is similar to mine. I was looking at his artwork while I was painting so I could capture that same vibe.”

It took Al-Omair about 12 hours to complete the self-portrait, which emphasizes his prominent features.

“I get commented on my nose a lot, so I painted it in the center. I wanted to immortalize my 16-year-old self, because who knows what I will look like five years from now?”

The young artist aims to turn all sorts of experiences — even those of friends or family members — into art.

“How would life be if we did not have music or anything beautiful to look at? When you think of an artist, people usually imagine someone with a brush, but it is much bigger than that.

“Art is translating feelings with a certain skill. Movies taught humanity so much because you get to learn about people. Writing, songs and music are emotional things that we share. Art is one of the most important parts of life. Everyone has an artistic side to them that they may have not found yet,” he said.

 


Saudi development fund agrees $50m loan deal with St. Vincent and the Grenadines

Updated 33 min 9 sec ago
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Saudi development fund agrees $50m loan deal with St. Vincent and the Grenadines

  • Funding will help rebuild and repair facilities damaged by natural disasters in the Caribbean island nation

RIYADH: The Saudi Fund for Development signed a $50 million loan agreement with St. Vincent and the Grenadines on Friday to assist communities affected by natural disasters, Saudi Press Agency reported.

The deal was signed by SFD CEO Sultan Abdulrahman Al-Marshad and Camillo Gonsalves, finance minister of St. Vincent and the Grenadines, during the 2024 spring meetings of the World Bank and the International Monetary Fund in Washington.

According to the World Bank, the southern Caribbean nation faces a host of natural threats, including floods, hurricanes, droughts, landslides, and volcanic eruptions.

The agreement will fund a project to rebuild and repair buildings and facilities damaged by natural disasters in the island nation.

This initiative includes the restoration and construction of essential infrastructure, such as housing, healthcare, educational, and sports facilities, aimed at boosting their durability and resilience against future disasters and climate change impacts.

The project will also include establishing four healthcare centers, building primary and secondary schools, renovating government buildings, and restoring homes damaged by volcanic activity.

The loan is in line with the SFD’s commitment to supporting vulnerable communities around the globe.

Since its inception in 1975, the Saudi fund has financed over 800 development projects and programs worldwide, with total funding exceeding $20 billion.
 


Art Jameel announces open call for Hayy Jameel Facade Commission

Updated 19 April 2024
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Art Jameel announces open call for Hayy Jameel Facade Commission

  • Antonia Carver, director of Art Jameel, said: “At Art Jameel, we are committed to fostering the role of the arts in public life

JEDDAH: The Hayy Jameel Facade Commission is inviting new and established artists in Saudi Arabia to reimagine the facade of the Hayy Jameel art building in Jeddah.

In its fourth year and third open call process, the commission will select a winning artwork that serves as conversation starter between the complex, the community it serves and the broader public.

Antonia Carver, director of Art Jameel, said: “At Art Jameel, we are committed to fostering the role of the arts in public life.

“Through this annual commission which positions the facade as the first point of contact with the Hayy Jameel community, we are providing a platform that propels mid-career artists forward and challenges them to produce a large-scale, highly imaginative work that remains in-situ, front and center in Jeddah, for around 10 months.”

The commission encourages artists to consider the site-specific nature of the project and the technical requirements of a public work.

Sustainability considerations are also appreciated in managing the carbon footprint of the artwork and its installation.

Eligibility is open to all Saudi and Saudi-based artists and collectives, with at least one member required to be a Saudi citizen or resident if applying as a collective.

The commissioned artists will receive a work fee and a production budget managed by Art Jameel.

The jury, consisting of local and international art professionals, curators, artists and museum directors, will select a single work for production.

Applicants are required to submit a concept statement (200-500 words), up to four sketches and diagrams, and an estimated production schedule through the application portal.

The deadline for the facade submission has been extended to May 1, with the launch scheduled for October. Following the unveiling, there will be a public viewing period from October 2024 to September 2025.

Previous works displayed on the building have showcased the talent of artists such as Nasser Al-Mulhim, Tamara Kalo, Mohammad Al-Faraj and Dr. Zahrah Al-Ghamdi.

 


Saudi universities participate in Geneva’s International Exhibition of Inventions

Mohammed Al-Sudairi
Updated 19 April 2024
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Saudi universities participate in Geneva’s International Exhibition of Inventions

  • More than 1,000 inventions from over 40 countries showcased at event

RIYADH: Mohammed Al-Sudairi, the Saudi deputy minister of education for universities, research and innovation, opened the Kingdom’s pavilion at the 49th Geneva International Exhibition of Inventions.

Some 26 Saudi Arabian universities are taking part at the event — including 19 government universities, two independents and five private bodies — and a total of 113 inventions have been produced, in scientific, theoretical, medical, and biological specializations, the Saudi Press Agency reported.

Among the universities taking part is Qassim University, which is showcasing a display that highlights innovations and several inventions.

Abdulaziz bin Bani Alharbi, a faculty member at Qassim’s College of Agriculture and Food, said that the college was showcasing a patent registered with the Saudi Authority for Intellectual Property: a method for desalinating salt water using a halophyte plant.

He said the invention involved introducing water and placing the plant in a closed system that allowed the collection of water from the plant after the transpiration process.

Alharbi added that gas exchange followed and then desalination to obtain salt-free water.

Fahad Alminderej, a faculty member at the College of Science, said his group had obtained a patent for extracting materials from date waste, and was then using them in pharmaceutical manufacturing in an innovative manner. This patent had also been registered with the Saudi Authority for Intellectual Property.

Abdullah Almohaimeed, the head of the Innovation Center and Intellectual Property at the university, said that Qassim was participating in the exhibition as part of the Ministry of Education’s initiative to enhance the international presence of Saudi universities, in line with national objectives.

He added that the university’s participation aimed to highlight its role in supporting the innovation system and entrepreneurship, as well as showcase many inventions.

The exhibition, which is taking place until April 21, is displaying more than 1,000 inventions from over 40 countries. Some 800 exhibitors are featured at the event and 30,000 visitors are expected to attend, in addition to 650 journalists.

It is the world’s largest annual event devoted exclusively to invention.

 


Al-Baha’s monuments: A pivotal testament to civilizational advancement

Updated 19 April 2024
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Al-Baha’s monuments: A pivotal testament to civilizational advancement

  • Characterized by intricate designs, the residential buildings, castles, and forts embody a harmonious fusion of environmental adaptability and cultural resonance

RIYADH: Nestled in Al-Baha region in southwestern Saudi Arabia lies a treasure trove of ancient architecture in the quaint villages that dot its landscape.

Characterized by intricate designs, the residential buildings, castles, and forts embody a harmonious fusion of environmental adaptability and cultural resonance.

Crafted with precision, these structures seamlessly integrate with the rugged terrain and fluctuating climate, while also paying homage to the long-standing customs and traditions of ancient Arab society.

Seventy-three-year-old Mohammed bin Salem Al-Ghamdi told Saudi Press Agency: “For decades, I have dedicated myself to the craft of stone house construction.”

Currently, he and his companions are diligently crafting a stone room, employing stones as their primary building material. Together, as a cohesive team of builders, craftsmen, and eager participants, they collaborate harmoniously to bring their vision to life. He described it as both a hobby and inheritance passed down through generations.

“In every construction endeavor, we rely on what’s known as the cornerstone, strategically positioned at the room’s corners. Additionally, a lengthy stone, referred to as the ‘link,’ is essential for connecting each stone within the structure. We also use sturdy stones known as ‘Al-Mateen’ or ‘Al-Daher’ to fortify the room’s foundation.

“Moreover, we meticulously place ‘Al-Lazza’ stones, tiny yet significant, within the larger stones, ensuring a seamless fit without any gaps or openings in the room’s structure,” he added.

“Once the corners are meticulously stacked and leveled, I proceed to roof the room with wood. This involves utilizing a series of wooden beams cut to specific lengths to interconnect all corners of the room. Next, I scatter small plants across the wooden framework to fully cover the ceiling, upon which clay is applied to secure the structure. This method ensures durability against erosion and rainfall, further reinforced by specific paving techniques.”

Al-Ghamdi emphasized the importance of post-construction plastering with clay, which not only gives the interior an earthy tone but also regulates the temperature — ensuring warmth in winter and coolness in summer.

He mentioned the practical use of juniper trees for doors and windows, facilitating easy replacement and serving a dual purpose in construction.

Dr. Abdulaziz bin Ahmed Hanash, professor of urban design at Al-Baha University, highlighted the profound significance of human construction in Al-Baha region, portraying it as a living chronicle of urban civilization’s evolution over time.

He underscored the traditional architecture and urban legacy of Al-Baha as foundational elements, inherently distinguishing the region. With its wealth of historical landmarks spanning the Sarat and Tihamah regions, the area has gained the attention of state authorities, who aim to nurture its potential as both a summer and winter tourism hotspot through strategic development initiatives.