Al-Khous 

While palm trees are famed for providing dates, which play such a significant role in traditional Khaleeji hospitality, the plants themselves are equally important in Arabic heritage. The tree trunks and leaves were commonly used to create temporary or permanent accommodation, and Al-Khous — the weaving of palm fronds — is one of the oldest regional handicrafts. Bedouins would use the technique to create baskets, bowls, mats, tablecloths, brooms, and bags to be carried by their camels. The palm leaves are dried out in the sun, then cut (to ensure all thorns are removed) and soaked before being dyed, if required, and then sewn together. It’s a painstaking process, that requires great attention to detail and a steady hand.  

Bisht  

This traditional long cloak, traditionally made from wool, was originally worn by Bedouins in winter, but is now an important part of the regional wardrobe for special occasions including weddings, graduations, and Eid. These days, most bishts are machine-made, and a high-quality, hand-tailored bisht is seen as something of a status symbol, having become the formal wear for politicians and other high-ranking individuals in the Gulf and beyond. 

Al-Ahsa, in Saudi Arabia’s Eastern Province is renowned for its bisht tailoring, and many of the products are known by the names of the families who have made them for generations, including the Al-Qattan, Al-Kharas, Al-Mahdi, and Al-Bagli. Each tailor has their own thread (zari) design. 

Speaking to Arab News a few years ago, one Al-Ahsa tailor, Abu Salem, said: “Black bishts with gold stitching are the most popular. In the early Nineties, new colors were introduced to the bisht market. Blue, grey and maroon are mostly worn by the younger generation. The older generation sticks to the traditional black, brown and cream.  

“Tailoring bishts is an art that requires accuracy and skill. The gold embroidery requires patience and takes many hours,” he continued. “Hand-making one of these bishts could take from 80 to 120 hours and four tailors, each with one specific task.” 

Sadu weaving 

This ancient tribal craft dates back centuries. Bedouin Sadu weavers would create tightly spun tent awnings, rugs and more in a variety of colored patterns for their tribes using dyed wool, hair or fur woven on a floor loom. These days, Sadu patterns are commonly seen on clothing and interior décor. Speaking to Arab News in 2021, Mohammed Khoja, founder of clothing brand Hindamme, said that Sadu and its range of patterns “reflects an element of storytelling because it says so much about the livelihoods of the early Arabs. It comes in many forms in various colors, so it’s incredibly inspiring. I knew that I wanted to reference it in my designs. I wanted to reflect its beauty in a more contemporary format.” 

Dr. Delayel Al-Qahtani, director of the studies and research department at Atharna, a social enterprise dedicated to Arabian culture and handicrafts, told Arab News: “Al-Sadu is a craft that requires innovative skills and a lot of effort, as the weaver has to work hard to transform the raw material into something new. It is an intricate craft that requires precise hand movements. The final product is always a beautiful design.”  

Henna tattooing 

The practice of applying henna — a reddish-brown dye made from dried, powdered leaves of the henna tree — to the body was recently added to UNESCO’s Intangible Cultural Heritage List, thanks in large part to the efforts of Saudi Arabia’s Heritage Commission. Henna has been used to dye skin, hair and fingernails since for millennia, dating back at least to the time of the ancient Egyptians.  

A report from the Saudi Press Agency at the time henna was added to the UNESCO list stated: “Henna has great cultural significance in Saudi Arabia, with the art mastered by women and passed down through generations. It represents ‘joy and optimism’ and is a social tradition that strengthens community bonds.” 

Pottery 

Midianite pottery dating back more than 1,500 years has been discovered in northwestern Saudi Arabia, and it’s clear that pottery has a long and distinguished history in the Gulf in general. Cooking pots, cups and utensils are among the most common items crafted by traditional potters, and clay pots, especially, play a vital role in the region’s culinary heritage. As a recent Saudi Press Agency report stated: “The slow and even distribution of heat enhances the dishes cooked in (them), such as madhbi and mandi.” Local authorities in Jazan and other regions have been organizing workshops and courses to encourage the younger generation to keep this tradition alive. 

Sword and janbiya making 

The crafting of weaponry is another centuries-old skill that is being preserved in various areas of the Kingdom. The Najran region, in particular, is famed for producing some of the most stunning ornamental swords and janbiya (short, curved daggers). What were once necessities for desert tribesmen are now generally for decoration only, but the artistry required to produce them remains the same and is a source of great pride in the Kingdom and the wider Arabian Gulf. The daggers are generally “made from iron, with handles of animal horn, often adorned with silver or gold,” according to a recent SPA report. Carvings on the hilts and sheaths are often used to depict the owner’s tribal background. The finest examples can cost thousands of dollars. 

LONDON: When director Peter Berg had an idea for a project based on the Mountain Meadows Massacre — a series of attacks during the US’s 19th-century Utah War — he reached out to “The Revenant” writer Mark L. Smith to flesh out the show. As luck would have it, Smith was already working on an idea set during the same period following real-life pioneer Jim Bridger, a character he’d explored as a much younger man in that film. The result is Netflix’s “American Primeval,” set in the untamed world that predates the Wild West as audiences have come to know it. This is a brutal, savage place in which US army forces battle Mormon militias, and native tribes try to eke out a peaceful existence amid the chaos. 

Sara Rowell (Betty Gilpin) and her son Devin (Preston Mota) arrive at Fort Bridger, in search of a guide to escort them through the perilous country. Bridger (Shea Whigham) introduces them to Isaac Reed (Taylor Kitsch), a bereaved hunter and trapper who eventually agrees to go with them. The trio, later joined by runaway Shoshone Two Moons (Shawnee Pourier), set out on the dangerous trek, dodging armies, evading bounty hunters, and navigating settlers with their own (often unsavory) plans.  

At the same time, Mormon settler Jacob Pratt (Dane DeHaan) searches for his kidnapped wife Abish (Saura Lightfoot-Leon), while Mormon leader Brigham Young (Kim Coates) sets his eyes on Fort Bridger as a means to defend his followers from what he assumes to be an imminent attack by US Army forces. 

Every minute of the six episodes feels relentless. There’s little room for quieter character development — Isaac’s backstory is glossed over, Abish’s relationship with her captors doesn’t get the airtime it deserves, and Jacob’s realizations about the behavior of his Mormon brothers feels rushed.  

What Berg does cram in is certainly spectacular — “American Primeval” is brutal, bloody and gorgeous in equal measure — and the sense of constant peril is effective and exhausting. Kitsch and Gilpin are great, too, but there’s a sense that, with a little more time, Isaac and Sara’s relationship could be an even more interesting counterpoint to the savagery around them. This is a breathless series. With a beat or two more to breathe, it could have been truly epic.