3 ancient Roman camps discovered buried in Arabian desert

An aerial view of the western camp in Jordan. (APAAME)
Short Url
Updated 27 April 2023
Follow

3 ancient Roman camps discovered buried in Arabian desert

  • The finds shed new light on conquest of Nabataea almost 2,000 years ago
  • Camps spotted by academics at Oxford with help of Google Earth

LONDON: Three 2,000-year-old Roman military camps have been discovered through Google Earth buried in the Arabian desert.

The camps, found by researchers at Oxford University, may have been constructed as part of the Roman Empire’s takeover of the ancient Nabataean Kingdom, the territory of which stretched between the modern kingdoms of Jordan and Saudi Arabia, in A.D. 106 following the death of its last king, Rabbel II Soter. 

Roman sources say the conquest was a peaceful transfer of power, but the new discoveries suggest it may have been more violent than previously believed.

With distances between them ranging from 23 to 27 miles, the camps would almost certainly have been used as temporary accommodation as troops, most likely mounted, made their way across the desert, used for only a few days before the Romans marched on.

Researchers also think that another camp may have been built further west near Bayir, in modern Jordan.

“We are almost certain they were built by the Roman army, given the typical playing card shape of the enclosures with opposing entrances along each side,” said Dr. Michael Fradley.

“The only notable difference between them is that the westernmost camp is significantly larger than the two camps to the east.”

He added: “The level of preservation of the camps is really remarkable, particularly as they may have only been used for a matter of days or weeks.

“They (the Romans) went along a peripheral caravan route linking Bayir and Dumat Al-Jandal (in Saudi Arabia). This suggests a strategy to bypass the more used route down the Wadi Sirhan, adding an element of surprise to the attack.

“It is amazing that we can see this moment in time played out at a landscape scale.”

Roman military expert Dr. Mike Bishop said: “These camps are a spectacular new find and an important new insight into Roman campaigning in Arabia.

“Roman forts and fortresses show how Rome held a province, but temporary camps reveal how they acquired it in the first place.”

Prof. Andrew Wilson, who co-wrote the report on the three camps in the journal Antiquity, said the greater size of the western camp raised questions about the nature of Rome’s conquest of Nabataea.

“These marching camps — if we are correct in dating them to the early second century — suggest the Roman annexation of the Nabataean Kingdom following the death of the last king, Rabbel II Soter in A.D. 106, was not an entirely straightforward affair, and that Rome moved quickly to secure the kingdom.

“Why does the western camp have twice the capacity of the other two? Did the force split, and if so, where did the other half go? Was it half wiped out in a battle, or did they remain in the western camp to resupply the other camps with water?”


Singer Elyanna makes her TV debut on ‘The Late Show’

Updated 11 May 2024
Follow

Singer Elyanna makes her TV debut on ‘The Late Show’

  • Chilean Palestinian star performs hits from debut ‘Woledto’
  • Proudly adorned with Palestinian keffiyeh around her head

DUBAI: Chilean Palestinian singer Elyanna made her television debut this week on “The Late Show with Stephen Colbert.”

The 22-year-old music sensation delivered a medley of hits from her debut album “Woledto,” including “Callin’ U (Tamally Maak)” and “Mama Eh,” the first song performed entirely in Arabic on the show.

Her performance featured an ensemble of oud, tabla, riq and dancers.

“I had so much fun performing on this iconic stage,” she wrote to her 1.2 million followers after her show.

The hitmaker was adorned in a white lace dress featuring two thigh-high slits. She complemented the attire with coin-belt accessories, draping them over her shoulders and fastening them around her calves to add a Middle Eastern touch to her look.

In one of the pictures she shared with her fans, she proudly wore the Palestinian keffiyeh around her head as she posed in front of “The Late Show” desk.

Elyanna dropped her album in April. It features nine songs: “Woledto,” “Ganeni,” “Calling U,” “Al Sham,” “Mama Eh,” “Kon Nafsak,” “Lel Ya Lel,” “Yabn El Eh” and “Sad in Pali.”

Before releasing the album, she wrote to her Instagram followers: “This album is the embodiment of pride to be an Arab woman, to be from Nazareth, to be from the Middle East.”

“This is the closest I’ve been to where I come from,” she added. “The only feature on my album is my grandfather.”

The Los Angeles-based singer’s music is a mix of Arabic and Western beats, which she attributes to her multicultural upbringing.

Elyanna has been normalizing Arabic lyrics in the Western world throughout her career, taking inspiration from artists including Lana Del Ray and Beyonce, as well as Middle Eastern legend Fayrouz.

In 2023, Elyanna became the first artist to perform a full set in Arabic at California’s Coachella music festival.

She embarked on a North American Tour this year, gracing stages in Dallas, Houston, Toronto, Montreal, Washington, New York, Chicago, Detroit, San Francisco and Santa Ana.


REVIEW: ‘Kingdom of the Planet of the Apes’ a worthy addition to successful franchise

Updated 11 May 2024
Follow

REVIEW: ‘Kingdom of the Planet of the Apes’ a worthy addition to successful franchise

DUBAI: When soulless, cookie-cutter franchises were but the norm, the “Planet of the Apes” reboot trilogy — starring Andy Serkis’s commanding Ceasar — cut through the noise to offer a textured, resonant story that not only did well with the critics but also broke box office records.

Coming seven years after the final instalment of that trilogy, “Kingdom of the Planet of the Apes” continues the legacy with a visually rich and emotionally layered story. It takes its inspiration from the original 1968 film, “Planet of the Apes,” which was in itself an adaptation of French author Pierre Boulle’s 1963 novel “La Planete des singes.” 

Director Wes Ball (“The Maze Runner” trilogy) continues his run of dystopian features, but this time explores it in a lush, Garden of Eden-adjacent setting.

“Kingdom of the Planet of the Apes” is set generations after Ceasar’s time, when the world has been taken over by intelligent apes. The same virus that evolved them has regressed humans into an echo of their former selves, rendering them primitive and without language.

A coming-of-age story, our protagonist is the young simian Noa (a poignant and scene-stealing Owen Teague). When his clan is murdered by a rival group of bloodthirsty apes, Noa goes on the adventure of his life as he sets out to save those he can from the tyrannical rule of Proximus Caesar (Kevin Durand). On his journey, he teams up with a human girl May (“The Witcher” star Freya Allan) and a wise orangutan named Raka (Peter Macon), who still live by the words of the original Caesar.

While the premise itself lacks the depth of the previous trilogy, Ball compensates through extensive character work. He poses thought-provoking questions about whether humanity deserves a second chance, whether the apes will continue to make the same mistakes humans did, and whether apes and humans can imagine a future of peaceful co-existence.

The action and emotions are supported by groundbreaking visuals that seamlessly blend convincing motion-capture performances with beautifully rendered CGI.

To sum up, “Kingdom of the Planet of the Apes” proves a more than worthy successor to a franchise that refuses to quit — and for good reason.


Opposites attract as artists explore beauty in Diriyah exhibition

Updated 11 May 2024
Follow

Opposites attract as artists explore beauty in Diriyah exhibition

  • The exhibition is curated by Khayria Refaat, who said in a statement: “This exhibition exemplifies the power of artistic collaboration and the ability of artists to create profound narratives

RIYADH: In Shashai Studio’s latest exhibition, “Delicacy of Dualities,” seven artists and one creative studio from the Kingdom explore the theme “intricate dance of opposites”.

The exhibition in Diriyah’s Jax District showcases a series of thought provoking artworks and installations from artists Nada Al-Ali, Maan Alabbadi, Nouf Alsharif, Rasha Saddiq, Abdullah Al-Bugami, Eida Alzahrani, Ahmad Haddad, and Makhtut Studio.

The exhibition in Diriyah’s Jax district showcases a series of thought-provoking artworks and installations from several artists. (Supplied)

Each artist tells a profound and personal story, including Al-Bugami, who dedicated his three artworks to the powerful duality of woman and man.

In some traditional and conservative societies, such as parts of Saudi Arabia, some women may choose to wear the burqa, a cultural garment that covers the entire body and includes a mesh screen to cover the face.

This exhibition exemplifies the power of artistic collaboration and the ability of artists to create profound narratives.

Khayria Refaat, Curator

Women who practice this tradition choose to cover themselves in front of everyone, including their husband and family members.

The exhibition in Diriyah’s Jax district showcases a series of thought-provoking artworks and installations from several artists. (Supplied)

“The burqa is considered the identity of the badu woman. Some people may see it as something that is quiet or sad, because it is black, but I decided to portray my aunt, who is in her 70s and I have never seen her face,” he said.

“One time, I accidentally saw her face and I could not recognize her. But, with that being said, behind the covering, when I greet her, I feel a deep and profound sense of love and belonging.”

The exhibition in Diriyah’s Jax district showcases a series of thought-provoking artworks and installations from several artists. (Supplied)

One of Al-Bugami’s artworks is handwoven using the sadu sewing technique, an ancient skill made famous by Saudi women in the north of the Kingdom. It is characterized by its bright colors and intricate weaving, and is registered on UNESCO’s list of intangible cultural heritage.

Sadu is usually performed by women, but Al-Bugami chose it as his medium to portray the sense of woman in his work.

“The pattern in the middle is an old design used in the past, and I decided to depict this pattern as if it resembles a woman. I decided to put the design in the middle because she is the foundation of the home; she is the most important part. I could not put the design in a corner, otherwise the home won’t be balanced.”

Al-Bugami has worked on a series of artworks that reflect his views on the vital role of women in life.  

“For a while I have been working on a concept that depicts things within humanity that complete one another, such as the man and woman, life and death, Adam and Eve ... I have worked on this project using charcoal, acrylic, and sadu.

“Life is man and woman; what would a man do without a woman and what would a woman do without a man? You can’t have one thing without the other. We have to have the duality of both, like night and day.”

The exhibition is curated by Khayria Refaat, who said in a statement: “This exhibition exemplifies the power of artistic collaboration and the ability of artists to create profound narratives. ‘Delicacy of Dualities’ invites viewers to question and explore the boundaries of perception while discovering the hidden beauty within the dance of opposites.”

 


Saudi Film Festival ends with honors for best production, music, acting

Updated 10 May 2024
Follow

Saudi Film Festival ends with honors for best production, music, acting

  • Kingdom’s acclaimed wildlife documentary ‘Horizon’ and film ‘Hajjan’ win top awards

DHAHRAN: The red carpet was rolled out on the final night of the eight-day 10th Saudi Film Festival on Thursday with awards handed out for best production, music and acting.

The event, held at King Abdulaziz Center for World Culture, or Ithra, had included masterclasses, workshops, book signings and networking opportunities.

The event was held at King Abdulaziz Center for World Culture. (Supplied)

The closing ceremony was a glamorous event, as presenters handed out the Golden Palm awards on stage.

Of the 76 films that were screened, 53 titles competed for 36 awards.

The closing ceremony was a glamorous event. (Supplied)

The acclaimed 2024 wildlife documentary “Horizon” won in its category. It was produced by the Konoz Initiative in collaboration with the Ministry of Media’s Center for Government Communication and the National Center for Wildlife.

Ithra’s own award-winning “Hajjan,” about a young camel rider, won for best music, best actor for the young star Omar Alatawi, and best actress for Tulin Essam. The film also won the Jury Golden Palm.

Of the 76 films that were screened, 53 titles competed for 36 awards. (Supplied)

One of the big winners on the night was the documentary shown at the opening ceremony of the festival on May 2, “Underground,” about the music scene in Saudi Arabia.

The list of winners and the recorded stream are available on the Ithra website.


Highlights from the Middle East Institute’s ‘Louder Than Hearts’ in Washington DC

Updated 10 May 2024
Follow

Highlights from the Middle East Institute’s ‘Louder Than Hearts’ in Washington DC

DUBAI: The Middle East Institute in Washington DC is hosting works by female photographers from the Arab world. 

Tasneem Al-Sultan 

‘Diversity Within Saudi Weddings’ 

The acclaimed Lebanon-born Palestinian-American photographer Rania Matar has curated “Louder Than Hearts,” an exhibition of work by 10 female photographers, including herself, from the Arab world and Iran that runs at the Middle East Institute in Washington DC until October 4. Saudi Arabia is represented by Riyadh-based “visual storyteller and photographer” Tasneem Al-Sultan, specifically her “Saudi Tales of Love” series, which, the MEI says, is “informed by her personal journey through marriage and divorce.” 

In wedding images such as this one, Al-Sultan “depicts the constructs and expectations of marriage, including the elaborate ceremonies, as well as the various societal constraints the Saudi women she photographed faced and triumphed over” and “delves into the complexities of relationships and the interplay of tradition and individual choice.”  

The series has garnered global recognition for Al-Sultan, featuring in Time’s “Lightbox” photo series and the international photography fair Paris Photo. 

Rania Matar 

‘Farah (In Her Burnt Car)’ 

Matar’s photography, the MEI states, “captures intimate moments that transcend borders and cultures and explores themes of personal and collective identity through photos of women in the US and the Middle East.” 

The series to which this image belongs — “Where Do I Go? Fifty Years Later” — began after the devastating explosion in Beirut Port in August 2020, and the title alludes to the fact that 2025 will be the 50th anniversary of the beginning of Lebanon’s civil war. The wave of emigration that followed the 2020 explosion was “akin to that of 1984-85 when a wave of young people including herself left the war-stricken country. By photographing these women, Matar was relating to their experiences and their dilemma of immigration (decades) later.” 

Rehaf Al-Batniji  

‘Malak’ 

This image comes from Paris-based, Gaza-born photographer Al-Batniji’s series titled “(Shatt) The Beach & (Shatta) The Chili Pepper,” a project that explores “the social and cultural anthropology” of her hometown. Shatta is a major ingredient in Palestinian cuisine, and “emblematic of Gaza, where life’s challenges can sting like this fiery spice,” while shatt is “the serene beach where residents seek solace and escape their daily reality.”  

Al-Batniji’s work, the MEI states, “offers an intimate portrayal of the territory, reflecting the struggles and intensity of life under siege, as well as the resilience and vibrancy of its communities with refreshing hopefulness. Al-Batniji rejects the brutal imagery of conflict and instead uses color as a tool of resistance.” 

Carmen Yahchouchi 

‘Victoria’ 

Mali-born Lebanese photographer Yahchouchi has work from three of her series in the exhibition, all of which “capture the enduring impact of the Lebanese Civil War on women, highlighting their pivotal roles in the middle of chaos and devastation,” the MEI’s promotional material states. “Her work offers glimpses into their resilience, strength and sacrifice as they navigated through tumultuous periods of history emerging as heroines within their communities and families and assuming new roles in the public sphere.” This piece is from her series “My Mother’s Gun,” and demonstrates Yahchouchi’s talent for photographing “the intimate spaces of human experience, inviting viewers into her subjects' unique worlds.” 

Tanya Habjouqa  

‘Inner Resistance’ 

The Jordanian photographer and journalist, who lives and works in East Jerusalem, “melds a mordant sense of irony with an unyielding examination of the repercussions of geopolitical conflicts on people’s lives,” according to the MEI. This image comes from her “Occupied Pleasures” series, which, the institute says, “presents a multidimensional portrayal of humanity’s ability to find joy amid adversity in the West Bank, Jerusalem, and Gaza, utilizing a sharp sense of humor about the absurdities produced by a 47-year occupation.”