Saudi Arabia's AlUla, a living museum in the heart of the desert

The AlUla valley is a landscape of striking contrasts. (AN photo)
Short Url
Updated 28 December 2021
Follow

Saudi Arabia's AlUla, a living museum in the heart of the desert

  • The once lost ancient capital is now a popular tourist site
  • Development project will help ‘share our cultural legacy with the world’: Crown prince

ALULA: Once known as a lost city of the dead, AlUla is today a living museum that is home to ancient civilizations, historical sites and archaeological wonders dating back 200,000 years.

Located northwest of Saudi Arabia and covering an area of more than 22,000 sq. km, it is known for its sandstone mountains and fertile oases harboring plentiful resources. Due to its location as an ancient crossroads on the Arabian Peninsula, it was an ideal resting place for caravan traders who would travel great distances in the region.

The AlUla valley is a landscape of striking contrasts, featuring strange rock formations carved by man and nature, petroglyphs and engravings, and a lush oasis that has thrived since ancient times.




The AlUla valley is a landscape of striking contrasts. (AN photo)

AlUla was the capital of the kingdoms of the Arab Dadan and Lihyan civilizations, which prospered in the desert oasis from 600-300 B.C. by controlling the incense trade routes that passed through the valley.

Engravings of hunters holding spears on horses and camels can be seen on AlUla’s mountains, which held religious significance to the Dadanites and Lihyanites who, according to local tour guide Abdulkarim Al-Hajri, worshipped whatever benefited them.

“In the past, Arabs only worshipped the divine trinity: The star, the sun and the moon,” he said. “For the Arabs, the camel had a communal significance, so did the bull, which represented fertility, and the lion, which represented strength and resilience.

“Man started with symbols, then drawing, then writing, all of which can be found on these mountains,” Al-Hajri said. “Some people say these are the different Arabic languages and that is wrong; in fact, they are different Arabic writings — Arabic is the mother language, one language that evolved through time.

“The current Arabic style of writing is derived directly from the Nabataean writing,” he added.




The AlUla valley is a landscape of striking contrasts. (AN photo)

Visitors to the area can inspect the markings, and Lihyani and Thamudi inscriptions with the help of the local guides, who told Arab News that many of AlUla’s treasures have yet to be discovered.

The Nabatean kingdom followed, whose people lived and thrived in the city of Hegra for over 200 years until it was conquered by the Roman Empire in A.D. 106. The Nabataeans were one of several nomadic Bedouin tribes that roamed the Arabian Desert. They most likely originated from west of the Arabian Peninsula, in Hejaz, due to similarities in the spoken Semitic languages and deities worshipped in both areas.

Hegra, a 52,000-square-meter ancient city, was the kingdom’s principal southern city and today features more than 100 well-preserved tombs, with the biggest being Qasr Al-Farid or “The Lonely Castle.” It is one of the most recognized and frequented sites in AlUla. Hegra is also the Kingdom’s first UNESCO World Heritage Site.




The AlUla valley is a landscape of striking contrasts. (AN photo)

The Nabateans were skilled at harnessing natural water resources, so much so that travelers sought their help when passing by the arid lands.

At Hegra, they tapped into underground reserves of water and devised systems of channels for directing and storing it. The name Nabataean has been linked to the Arabic word “Nabatu,” meaning water that springs from the well.

The tombs at Hegra were built to hold the remains of families or groups, whose status was reflected in the size or decoration of their final resting places. Higher up the mountains were simpler pit graves where people of lower social status were buried.

One deity worshipped by the Nabateans was Dushara, an eagle that guarded the entrance to several tombs in Hegra. The bird is now headless, with one theory suggesting the Romans decapitated it as a way of claiming the land and ensuring the Nabateans’ god perished with them.




The French orientalist Charles Auguste Huber, who came to AlUla when he was commissioned by his country to explore the Arabian Peninsula between 1878 and 1884. (Supplied)

Across the Hegra tombs between two jagged sandstone mountains sits Al-Diwan (the court). Carved into the hillside to shield it from the wind, it is a grand square chamber containing three stone benches that served as a meeting room for the Nabataean rulers, who would convene to discuss the affairs of the city and its people. It is one of the few examples of non-funerary architecture in the city.

Following the framework of Saudi Vision 2030, the Journey Through Time Masterplan was launched in April, which Crown Prince Mohammed bin Salman, who is chairman of the Royal Commission for AlUla, described as “a leap forward to sustainably and responsibly develop AlUla, and share our cultural legacy with the world.”

The Sharaan Nature Reserve, one of the strategic projects carried out by the commission, extends over an area of 1,500 sq. km, with varied terrain, mountains and valleys covered with wild flowers and desert areas, embracing a variety of wild animals.




Charles Auguste Huber drawing of the southern facade of Rawdat Al-Naga, found in the Sharaan reserve circa 1878-1884. (Supplied)

The French orientalist Charles Auguste Huber drew the southern facade of Rawdat Al-Naga, in the Sharaan reserve, between 1878 and 1884 when he was commissioned by France to explore the Arabian Peninsula.

When passing through the Rakab Mountains, he said: “We passed through mountains, and were they in Europe would have become overcrowded with tourists.”




When passing through the Rakab Mountains, Huber said: “We passed, fated, through mountains, and were they in Europe would have become overcrowded with tourists.” (Supplied)

One of AlUla’s most prominent landmarks is the Tantora sundial, which can be found in the old town. The Winter at Tantora festival started last week to coincide with the traditional planting season in AlUla, known as Al-Marba’aniya.

The six-week festival is named after the sundial because of the essential role it played in people’s lives and the annual event is a key date on the calendar. It is also part of the three-month AlUla Moments, which is back for its third edition and allows visitors to experience a range of activities and engage in cultural exploration.

Tickets can be booked via the official website, Experiencealula.com.


Balad Beast brings global beats to historic streets

Updated 31 January 2026
Follow

Balad Beast brings global beats to historic streets

  • ‘MDLBEAST put us on the international map,’ say Saudi electronic duo Dish Dash

JEDDAH: The music festival Balad Beast concluded its fourth edition this weekend, having transformed Jeddah’s UNESCO World Heritage district of Al-Balad into an open-air celebration of music, culture and creativity that attracted thousands of music lovers over two nights.

The festival, organized by Saudi music platform MDLBEAST, featured more than 70 local, regional and international artists across four stages, offering audiences a diverse journey through electronic, hip-hop and global sounds.

French Haitian singer-songwriter Naïka performed on the second night of Balad Beast. (Supplied)

Speaking to Arab News, MDLBEAST chief creative officer Ahmad Al-Ammary, also known as DJ Baloo, described Balad Beast as a “cultural takeover” adding that finding the right spaces for dance floors was a challenge, “but Balad is constantly evolving and we work with that change.”

Addressing the challenges of working in a heritage area, he said: “Balad is sensitive and condensed, so logistics can be complex. In our first year, heavy rain flooded one of the planned squares and we had to relocate the Souq Stage to a much smaller space, but it worked and it has remained there ever since.

HIGHLIGHT

Reggae superstar Shaggy noted that the reality of playing live in Saudi Arabia often surprises those who arrive with preconceptions.

“Yes, the alleys are narrow and the district is old, but they’re full of ideas, patterns, colors and visuals. Everything flows here,” he continued. “As a festival, it’s hard to define Balad, because it gives so much of itself creatively. It’s incredibly generous with its ideas and details, and inspiration comes from everywhere.”

Balad Beast featured more than 70 local, regional and international artists across four stages, offering audiences a diverse journey through electronic, hip-hop and global sounds. (Supplied)

Balad Beast featured performances from international artists including US rapper Playboi Carti, making his first appearance in Saudi Arabia; US rapper Destroy Lonely; Swedish DJ and producer Alesso; and Bosnian-German DJ Solomun on the opening night. The following night saw French-Haitian singer-songwriter Naïka, reggae superstar Shaggy, Dutch DJ Franky Rizardo, British DJ Pawsa, and US rapper Tyga, and more take the stage, while Saudi and regional artists including Cosmicat, TUL8TE, Zeina, Vinyl Mode, Moayed, Dish Dash, Musab, Varoo and HiFi appeared across the festival, offering audiences a mix of global and local talent.

Saudi electronic duo Dish Dash reflected on the festival organizer’s impact for local artists.

As a festival, it’s hard to define Balad, because it gives so much of itself creatively. It’s incredibly generous with its ideas and details, and inspiration comes from everywhere.

Ahmad Al-Ammary, MDLBEAST chief creative officer

“MDLBEAST put us on the international map,” the brothers told Arab News. “It helped us get recognized by festivals, promoters and event organizers abroad. When we travel, people don’t expect this level of talent coming from Saudi Arabia, especially considering we didn’t have this scene before.”

Shaggy, who performed a hit-filled set during the festival, told Arab News: “I’ve been blessed with some incredible songs, and I see music as a gift and a tool for service. When I go on stage, I’m there to entertain people, to make them smile and feel good, but that service also supports many livelihoods from the people working at this festival to those who work with me. These songs have become part of people’s lives, and I don’t take that lightly.”

Balad Beast featured more than 70 local, regional and international artists across four stages, offering audiences a diverse journey through electronic, hip-hop and global sounds. (Supplied)

Shaggy also noted that the reality of playing live in Saudi Arabia often surprises those who arrive with preconceptions.

“I’ve performed in Saudi Arabia more than once, and while there are certain rules that are different, it’s not an issue for me. My focus is always on delivering the hits and giving the audience a great time,” he said.

“There’s a big misconception. People have more freedom than (outsiders) think. Everyone has been extremely nice.”

Asked what advice he would offer to aspiring artists, Shaggy said: “Understand that what you’re given is a gift and a form of service. Stay humble, do the work, and remember why you’re doing it.”

As Al-Ammary noted, there are many such aspiring artists now making a name for themselves in the Kingdom.

“Talent is emerging everywhere, at different levels,” he said. “The scene is still in a mysterious and surprising phase. There’s a rawness to it.”