PARIS: Twenty years ago on August 31, 1997, Britain’s Princess Diana died in a high-speed car crash in Paris.
For the next week, up to her spectacular funeral, Britain was plunged into an unprecedented outpouring of popular grief which shook the monarchy.
Here is how the week unfolded:
Divorced for the past year from heir to the throne Prince Charles, Diana, 36, and her new millionaire lover, Egyptian Dodi Al-Fayed, are stalked by a posse of press photographers over the summer as they holiday in the Mediterranean.
They arrive in the afternoon of August 30 in Paris and dine in the evening at the Hotel Ritz, in the luxurious Place Vendome. They try to leave discreetly shortly after midnight in a Mercedes.
Chased by paparazzi on motorcycles, the powerful sedan careers at high speed into a pillar in an underpass near the Alma Bridge opposite the Eiffel Tower on the north bank of the River Seine.
Diana is pulled out of the Mercedes, which has been reduced to twisted metal, by rescue workers.
Al-Fayed and their chauffeur, who the probe shows had a high level of alcohol in his blood, die instantly. Their bodyguard is seriously injured.
Seven photographers are arrested. From the next day, photographs of the crash will be offered to magazines for a million dollars each.
Diana is taken to Pitie-Salpetriere university hospital where at 4:00 am (0200 GMT) she dies of massive chest injuries after two hours of desperate surgery.
France’s ambassador to Britain telephones Queen Elizabeth II’s aides at Balmoral, in Scotland, where the Queen, her husband the Duke of Edinburgh, Charles as well as the couple’s two children, William, 15 and Harry, 12, are holidaying over the summer.
Britain awakes in mourning. Under a grey sky hundreds of tearful Londoners start to lay flowers in front of Buckingham Palace and Kensington Palace, the princess’s residence.
A tearful young Labour Prime Minister Tony Blair pays homage to “the people’s princess.”
The world reacts with dismay. US president Bill Clinton says he is “profoundly saddened.”
In India Mother Teresa prays for Diana, just days before her own death, and US rock star Michael Jackson cancels a concert in Belgium in shock.
The press is the first to be accused. Diana’s brother Charles Spencer says newspapers have blood on their hands.
Embarrassed, the British tabloid press elevates Diana to the status of an icon.
“Born a Lady. Became our Princess. Died a Saint,” writes the Daily Mirror.
The popular fervor grows. At Saint James’s Palace, where Diana’s body is taken, it takes eleven hours to reach condolence books.
“The vision of the bouquets of flowers is amazing: a veritable sea, almost a hundred meters long,” AFP writes.
The organization of the funeral proves complex.
Since her divorce Diana is no longer known as “Her Royal Highness” and does not have the right to a state funeral, although she still had the title of princess.
But Britons call for a tribute worthy of their “queen of hearts.”
Anger mounts at the silence of the royal family, still holed up in Balmoral.
Newspapers, furious that the Union Jack flag is not flying at half-mast over Buckingham Palace, call on the Queen to address her subjects.
The Sun tabloid asks : “Where is our Queen ? Where is our flag ?” It says not flying the flag is a “stark insult to Diana’s memory .”
The Queen decides on September 5 to pay homage to her former daughter-in-law, whom she did not like, in a televised speech for only the second time in her reign. She then publicly bows before Diana’s coffin.
“If they (the royals) fail to heed her lesson, they will bury not just Diana on Saturday — but their future too,” The Guardian broadsheet warns, as nearly a quarter of Britons call for the abolition of the monarchy in a poll.
The next day, nearly a million people watch as the funeral procession passes in a deep silence punctuated by sobs and tolling bells.
Their heads bowed, the two princes follow the coffin, accompanied by Prince Charles, the Duke of Edinburgh and her brother Earl Spencer, under the eyes of 2.5 billion television viewers around the world.
At Westminster Abbey, 2,000 invitees, including US First Lady Hillary Clinton, Blair, opera singer Luciano Pavarotti, former Conservative Prime Minister Margaret Thatcher and US film star Tom Cruise attend the ceremony.
Elton John adapts his song “Candle in the Wind,” rewriting the lyrics in homage to Diana.
In the afternoon, the princess is buried discreetly on a small island at Althorp, Diana’s ancestral home.
Diana’s death: Week of grief shakes the monarchy
Diana’s death: Week of grief shakes the monarchy
Art under the stars: Noor Riyadh returns to dazzle Kingdom’s capital
- Fleet of drones illuminates Saudi capital for Noor Riyadh
- 18 Saudi, 43 international talents present light artworks themed ‘Light Years Apart’
RIYADH: The courtyards of the King Abdulaziz Historical Center in central Riyadh came alive on Tuesday evening with the launch of the Noor Riyadh Festival, attended by creatives from around the world.
London-based artist collective United Visual Artists transformed the night sky into a living canvas with a preview of their drone show “Aether.”
Featuring 1,500 drones, the seven-minute performance explored the silent harmony of the stars and planets.
Noor Riyadh Festival, a key initiative of the Riyadh Art, is being held under the theme “Light Years Apart” and will continue until Dec. 14.
This year, the festival will feature artworks by over 60 artists across three hubs: King Abdulaziz Historical Center, Wadi Hanifa, and Jax district.
Architect Khalid Al-Hazani, director of the Riyadh Art Program, said Noor Riyadh is designed to transform the city into an open-air art exhibition.
Festival director Nouf Al-Moneef told Arab News: “What’s great about these three is the connection between art, heritage, culture, nature — and also contemporary creativity in Jax.
“The most important thing in Noor Riyadh is accessibility for people. Noor Riyadh is under the umbrella of Riyadh Art, whose mission is to transform the city into a gallery without walls. Wherever you go and whatever locations or hubs that you go to, you find these spectacular art pieces.”
The festival aims to enhance the quality of life in the Kingdom’s capital and contribute to fostering creativity and presenting art to the community, he added.
It serves as a platform for artistic and cultural exchange in line with Riyadh Art’s objective to nurture local talent and boost the cultural economy of the capital.
In addition to 18 Saudi artists, 43 international artists are representing countries including Australia, France, Germany, Hungary, Italy, Japan, Montenegro, the Netherlands, Poland, Russia, Slovenia, South Korea, Spain, Turkiye, the UK, the UAE, and the US.
Speaking about the theme, Al-Moneef said that “Light Years Apart” is inspired by the connection between the Earth and the sky, praising the curatorial team who came up with the idea.
The festival invites citizens, residents, and visitors to explore the city and to celebrate the deep connection between heritage and creativity.
Mohammed Al-Bahri, an Omani journalist, said what caught his attention the most during the opening ceremony was the stunning harmony between the lights and music, which created a unique and immersive sensory experience for the viewers.
In recent years, the Kingdom has witnessed cultural and artistic development, which has contributed to enhancing its position on the global art scene, he added.
“I expect that interest in artistic creativity will continue to grow in the future, especially with the increasing government support for arts and culture, as well as the growing awareness of the importance of art in people’s lives,” Al-Bahri said.
“Art will thus become an integral part of the social fabric. Moreover, the younger generation is more open and has a deeper appreciation for the arts, signaling a bright future for artistic creativity in the Kingdom,” he said.
Munirah Abdulrazaq, a Bahraini beautician, said: “The Noor Riyadh Festival is a remarkable celebration of light and art, transforming Riyadh into a luminous canvas that bridges the gap between tradition and modernity.
“The fusion of creativity, technology, and heritage enhances the cultural landscape and positions Saudi Arabia as a burgeoning hub for contemporary and public art. By celebrating local and global artists, the festival fosters a deep appreciation for artistic expression and cultural dialogue, highlighting the Kingdom’s dedication to nurturing creativity and inspiring future generations.”
Diriyah Art Futures opens doors with tech-savvy exhibit
- Exhibition features works by more than 30 international and regional artists exploring the history of computer art from the 1960s to the present day
- Director of Diriyah Art Futures Haytham Nawar: The art hub is transforming Saudi Arabia into a global center of exchange and discourse in these emergent fields
RIYADH: Diriyah Art Futures, a new media arts hub in the region, has opened its doors with its inaugural exhibition, “Art Must Be Artificial: Perspectives of AI in the Visual Arts,” running until Feb. 15.
Curated by Jerome Neutres, former director at the Reunion des Musees Nationaux-Grand Palais in Paris, the exhibition features works by more than 30 international and regional artists exploring the history of computer art from the 1960s to the present day.
Haytham Nawar, director of Diriyah Art Futures, told Arab News that the art hub is “transforming Saudi Arabia into a global center of exchange and discourse in these emergent fields.”
The exhibit includes pieces by Saudi artists Lulwah Al-Homoud, Muhannad Shono and Nasser Al-Shemimry, showcasing Saudi Arabia’s burgeoning contributions to new media and digital art.
International artists include Frieder Nake (Germany), Vera Molnar (Hungary/France) alongside contemporary innovators like Refik Anadol (Turkiye) and Ryoji Ikeda (Japan).
“By placing works from different geographic regions, eras and mediums alongside one another, we aim to introduce the region to the immense power of new media art, while shining a light on its remarkable depth and potential,” said Nawar.
He added that the exhibition brings “a much-needed regional perspective to the conversation, allowing the works to be experienced, understood and perceived in new ways.”
Speaking about new media art explorations in the Saudi context, the hub director added: “Interestingly, with the word ‘algorithm’ originating from the Islamic world, the exhibition invites viewers to reflect on the relevance of these themes to Saudi Arabia, a country with a very young and technologically literate population, currently experiencing a dramatic transformation.”
Alongside its opening, the hub is also launching the Emerging New Media Artists Programme, developed in collaboration with Le Fresnoy — Studio National des Arts Contemporains in France.
The initiative will last one year, equipping emerging artists with advanced equipment, mentorship and funding to create innovative multidisciplinary works.
Nawar says Diriyah Art Futures selected a group of emerging artists from diverse backgrounds, hailing from across the world and representing a broad range of mediums.
“We wanted to work with artists whose work already stands out, but would benefit from a one-year program, under the mentorship of world-class artists.”
In addition, the hub has announced the Mazra’ah Media Art Residency, which will run from February to April next year. This three-month program invites established artists and scholars to engage with its resources to create works reflecting on the relationship between nature, technology and society.
Mona Khazindar, adviser to the Ministry of Culture, said that the hub is creating “a space for diverse perspectives and creative expressions to meet, converse and flourish — breaking down barriers and demonstrating the power of art to connect humanity.”
“DAF embodies Saudi Arabia’s commitment to facilitating cultural exchange and international collaboration, while creating opportunities for shared learning, innovation and mutual understanding,” Khazinder added. “Through our embrace of these principles, we aim to not only celebrate regional heritage, but also contribute to the global conversation about the role of culture in shaping a more connected and creative future.”
Developed by the Saudi Museums Commission in partnership with Diriyah Co., Diriyah Art Futures contributes to the global new media and digital art landscape by integrating regional voices and pioneering practices in art, technology and innovation.
The launch of Diriyah Art Futures aligns with Saudi Vision 2030’s commitment to advancing innovation, driving global collaboration and positioning the country as a leader in the global creative economy.
Saudi Culture Ministry selects 20 research proposals for camel studies grant
- Grant targets researchers interested in camel-related studies, with a focus on boosting cultural research output
- Out of 405 applications from 15 countries, the ministry chose 20 research proposals that met the necessary criteria
RIYADH: Saudi Arabia’s Ministry of Culture has completed the assessment and selection process for the camel studies grant, introduced last June in collaboration with the Ministry of Environment, Water and Agriculture, as well as King Faisal University.
This grant targets researchers interested in camel-related studies, with a focus on boosting cultural research output in areas connected to cultural, social and economic aspects through scientific exploration across diverse specialized fields within the camel sector.
Out of 405 applications from 15 countries, the ministry chose 20 research proposals that met the necessary criteria, the Saudi Press Agency reported on Wednesday.
The selected researchers will receive financial and scientific assistance throughout their work, which will lead to the publication of scientific papers.
The grant is part of activities carried out under the “2024, The Year of the Camel” initiative, which coincides with the UN General Assembly declaring 2024 as the International Year of Camelids.
The grant aims to encourage the study of the camel as a cultural symbol of Saudi Arabia, preserve national cultural heritage, highlight the intangible heritage linked to camels in Saudi Arabia, strengthen national identity, and promote Saudi culture internationally.
The grant covers six key areas: Historical, cultural, social, economic, environmental, and health dimensions. The objective is to examine relevant subjects with modern concepts, theories and methodologies.
The historical dimension includes studies comparing the importance of camels across civilizations, analyzing camel-related traditions, and exploring methods to preserve this heritage.
The cultural dimension focuses on the artistic and literary representation of camels in Arabic and Saudi literature, children’s books and various artistic media, including visual arts, cinema, engravings and sculptures.
The social dimension explores the role of camels in Arab and Islamic societies, including their social impact, traditions linked to ownership, and the influence of camel events on local and global communities.
The economic dimension examines the financial contributions of camels, including the use of camel wool and leather in fashion and furniture, the sustainability of camel products, and the financial impact of camel festivals.
The environmental dimension covers research on sustainable grazing practices, carbon emissions and camels’ role in maintaining ecological balance in arid regions.
The health dimension focuses on the medical applications of camel products, technologies for measuring camel meat quality, and the preservation of camel breeds through genetic mapping.
‘It was the darkest year of my life,’ Melissa Barrera says after Gaza support sparks backlash
DUBAI: Mexican actress Melissa Barrera opened up about how she felt after facing backlash in Hollywood over her comments on the Israel-Palestine conflict.
Speaking to The Independent, Barrera said “it was the darkest and hardest year of my life, and I had to reevaluate everything. There were times when I felt like my life was over.”
The 34-year-old actress was fired from “Scream VII” after she took to social media to call for a ceasefire and criticised Israel’s response to the Oct. 7 attack by Hamas. As of Nov. 27, 2024, the death toll in Gaza has reached 44,200, according to Gaza’s health ministry.
“Gaza is currently being treated like a concentration camp,” she wrote in an Instagram story in October 2023. “This is genocide and ethnic cleansing.” In another post, she complained about the supposed bias in Western media reporting, saying: “Western media only shows the other side … why they do that, I will let you deduce for yourself. We don’t need more hate. No Islamophobia. No antisemitism.”
Spyglass, the studio behind the latest Scream films, dropped Barrera from the franchise in response. “We have zero tolerance for antisemitism or the incitement of hate in any form, including false references to genocide, ethnic cleansing, Holocaust distortion or anything that flagrantly crosses the line into hate speech,” the company said in a statement.
Barrera says she then faced almost a year of difficulties in Hollywood.
“It was quiet for like 10 months,” Barrera told The Independent about her acting jobs. “I was still getting offers for small things here and there – I’m not going to lie and say there was nothing – but (the message) was, ‘Oh, she probably doesn’t have work, she’ll say yes to anything.'”
Instead, the actress spent much of 2024 promoting the films she made before the incident, including horror comedy “Abigail” and musical “Your Monster.”
The latter sees Barrera play a soft-spoken actress who finds love again when she meets a terrifying but charming monster that lives in her closet.
The “Your Monster” script came across Barrera’s desk soon after filming “Scream VI” in 2022.
“I kept getting horror scripts, and I wasn’t getting a lot of the really exciting parts I was auditioning for,” she told the newspaper of why she jumped at the role. “I would get (roles) that I wasn’t excited about, and I’ve never been a person that just wants to work for work’s sake. I give so much of myself to acting that if a part of me feels like it’s not worth it, I’m (going to) be miserable.”
UK, Omani princes launch journey across historic Arabian route
- Camel trek first taken by British diplomat Bertram Thomas in 1928 to be retrodden by team of six travellers
- Prince of Wales, crown prince of Oman sponsoring historic coastal journey
LONDON: A group of explorers, backed by royalty, is set to undertake a historic journey, retracing a route across the coast of Oman first trodden by a British diplomat almost a century ago.
The Jewel of Arabia expedition, supported by William, Prince of Wales and Omani Crown Prince Theyazin bin Haitham, will feature six travelers, led by Mark Evans, following in the footsteps of Bertram Thomas, who first made the journey over 42 days in 1928.
Thomas made the trek to document the area and local wildlife, and was congratulated on his achievement by King George V.
The new journey, featuring camels but also modern off-road vehicles, will “raise awareness among young people both in and outside of Oman of the value of Oman’s natural heritage and biodiversity as well as the environmental challenges the country and the wider world face,” The Telegraph reported.
It will also feature podcasts and radio interviews with local stations along the way, meetings with local children and an online tracker so people can view its progress in real time.
Prince William told the modern explorers at the Royal Geographical Society on Monday: “I wish I was able to join you, but will be following very closely.”
He added: “The expedition will walk in the footsteps of British explorer Bertram Thomas and take in the wonderful coastline of Oman.
“They will be able to take in the beauty of Oman, and also see the damage done by climate change.”
Prince William added: “The expedition will not only highlight Oman’s biodiversity and natural heritage, but also symbolize the enduring friendship between our two countries.”
The prince added to guests at the Royal Geographic Society that he would “try and make something happen” regarding a future visit to Oman, teasing: “We’re in the planning process.”
The trek will see daily starts around 5 a.m. local time, and will aim to cross 25-30 kilometers per day. The travelers will sleep under the night sky, surviving in the desert without tents.
Evans, 63, said: “The stars of the show will undoubtedly be the camels.”
He joked that the animals are now in a “camel boot camp” in Oman to prepare for the arduous trek.
Alongside Evans will be Nigel Harling, Ana-Maria Pavalache, Dhirka Al-Mawali, Ibrahim Al-Hasni and Amour Al-Wahibi, all of whom are experienced explorers.
Thomas’ original expedition came at a time when the region was considered one of the world’s most inhospitable, known as Rub Al-Khali, or the “empty quarter.”
He worked for the sultan of Oman, and became the first Westerner to make the journey along the coast, spending much of his spare time exploring the country, navigating harsh terrain and warring local tribes.
Upon completion, he received a congratulatory telegram from George V, and used the experience as the basis for a book, “Arabia Felix,” which contains a foreword by T.E. Lawrence.
Meanwhile, 2025 will also mark 225 years since the signing of a friendship treaty between Britain and Oman.
