King Abdulaziz Public Library shows off rare, 400-year-old manuscript about coffee
The library shared the document with the public for the first time as part of the celebrations for the 2022 Year of Saudi Coffee
It was written by Madyan Qusuni, who was Egypt’s chief physician and was also known for his love of literature and history
Updated 14 December 2022
Arab News
JEDDAH: A rare, 400-year-old manuscript that highlights the important role of coffee in Arab culture has been shared with the public for the first time. It was written by Madyan Qusuni, a renowned Egyptian physician, writer, and historian during the Ottoman era.
King Abdulaziz Public Library decided to show off the document, which is safely preserved and stored in its private collection, as part of the celebrations for the 2022 Year of Saudi Coffee, which celebrates the role of the beverage in the identity, heritage, customs and traditions of the Kingdom.
The manuscript, which has the numeric reference “1213,” summarizes two books by different authors. The first is “Umdat Al-Safwa fi Hill Al-Qahwa” by Abdulqadir bin Muhammad Al-Jaziri, an Iraqi scholar and historian. The second is a book by scholar Ahmad Shihab Addin Al-Maliki, the first chapter of which is titled “On the Meaning of Coffee.”
The manuscript has a poem in praise of coffee that tells how it has spread to the far corners of the earth, gaining prominence even in China.
Qusuni was the chief physician in Egypt. He was also known for his love of literature and history, and wrote many books in which he combined his knowledge of the medicine of the time with literature. He died in Egypt in 1634.
In its role as a preserver of history and ancient manuscripts, the library in 2020 issued a two-part manuscript index. The first discusses the library’s work to preserve and document the historical manuscripts it holds and make the details available to scholars and researchers. The 664-page volume contains information about 300 manuscripts.
The second part includes details of 646 Arabic manuscripts and 19 in other ancient languages, including Turkish, Bosnian and Persian. They cover a wide range of topics including the arts, religion, jurisprudence, Hadith, biographies of the Prophet Muhammad, literature, poetry, philosophy, astronomy, dictionaries, general knowledge, logic, grammar, history and rhetoric.
The Year of Saudi Coffee initiative was launched by the Ministry of Culture, with the support of the Quality of Life Program, in keeping with the aims of the Kingdom’s Vision 2030 development and diversification agenda.
REVIEW: ‘The Bear’ season four is a triumphant return to form
Updated 28 June 2025
Adam Grundey
DUBAI: We should’ve had more faith. Fears (including from this reviewer) that “The Bear” was floundering after the glacial pace of its third season can now be put to bed. Season four is pretty much everything fans of the show could’ve wanted: tense, dramatic, joyous, thought-provoking, funny and deeply moving. And with plenty of further proof that this might be the most talented ensemble cast currently on our screens.
Season three ended with the fate of the titular restaurant in the balance as the team — led by star chef Carmen “Carmy” Berzatto (Jeremy Allen White), his mentee Syd Adamu (Ayo Edebiri), maître d’hôtel Richie Jerimovich (Ebon Moss-Bachrach), and business manager Natalie “Sugar” Berzatto (Abby Elliott) — awaited a make-or-break review in the Chicago Tribune. That’s quickly resolved: Despite some highly positive comments, the review is ultimately a dud — thanks largely to Carmy’s stubborn insistence on changing the menu daily; a choice that isn’t just leading to inconsistent performance from his team, but in heavy hits to the budget as they can’t bulk buy from suppliers.
So, that old enemy time takes center stage, as financial backer Uncle Jimmy (Oliver Platt) and his ruthless cost-cutting friend The Computer install a countdown clock in the kitchen, giving the team 1,440 hours to save itself. That clock hits zero in the excellent final episode.
In between times, the development of several characters’ back stories that contributed to the feeling of aimlessness last year starts to pay off here, as much of the action is taken out of the kitchen and into a deeper exploration of what the show is really about: family — the ones we’re born into, the ones we choose, and the ones that choose us. Once again, there’s a Berzatto (extended) family get-together at the season’s heart in a one-hour episode set at Richie’s ex-wife’s wedding. The stage is set for another dysfunctional social disaster. Instead, we get something altogether warmer but equally dramatic. It’s exceptional television.
At the heart of it all is the characters’ continued quest for self-improvement — from Tina’s attempts to improve her cooking speed, through Syd’s efforts to silence her self-doubt, to Carmy’s endeavors to allow emotional connections into his life and stop self-sabotaging.
This season may still be a little too slow for those pining for the claustrophobic hyperactivity of season one, but the creators have found a sweet spot here between that and the stagnation of season three. “The Bear” is back.
DUBAI: British snooker champion Ronnie O’Sullivan and British actress Laila Rouass announced on Friday that they have tied the knot, 10 months after ending their on-off relationship.
The couple, who have been together for 13 years and have separated several times, were married in an intimate ceremony in London.
Rouass, who is of Moroccan and Indian heritage, shared the news on Instagram, writing: “The Palestinians have taught me so much, most importantly to honor human connection, make love your motivator and to keep refreshing it. So after almost a year break … this was one way of pressing the refresh button.”
She also revealed that the ceremony took place on Cable Street in Shadwell, the London neighborhood where she was born and which she described as holding deep personal and historical significance.
According to The Sun, the pair are now planning to relocate to Dubai for a fresh start.
Recipes for Success: Chef Eric Vidal talks patience, pasta, perfectionism
Updated 27 June 2025
Hams Saleh
DUBAI: Running six restaurants, a bar and a beach club might sound like a logistical nightmare, but for French chef Eric Vidal, it is just another day at Delano Dubai.
As executive chef of the new luxury destination, Vidal oversees everything from in-room dining to curated tasting menus across venues including Blue Door, Gohan, Tutto Passa, and La Cantine Beach.
Here, Vidal offers advice and a recipe for grilled seabass.
When you were starting out, what was the most common mistake you made?
I was absolutely determined to make every single element perfect, down to the tiniest garnish. If a microgreen was not angled just right or a sauce swirl looked a little off, I would start over. That obsessive attention to detail came from a genuine love for the craft, but it also meant I was constantly behind. During training, I was almost always the last to plate and serve. While others were already wiping down their stations, I was still fussing over aesthetics that, in hindsight, barely made a difference.
Looking back, I realize that pursuit of perfection wasn’t the problem, it was the way I went about it. In a professional kitchen, you simply can’t afford to sacrifice speed for polish that only you notice. I have learned that excellence is not about obsessing over every detail, it’s about knowing which ones truly matter. Ultimately, a great plate is one that delights the diner and makes it to the (table) on time.
Delano Dubai. (Supplied)
What’s your top tip for amateur chefs?
Enjoy the process. Try not to treat dinner like a high-stakes performance. Take a breath. Cooking should be something that grounds you, not stresses you out.
It also definitely helps to have a few basics in place, like a solid grasp of simple techniques, equipment that actually works with you (not against you), and good-quality ingredients that you’re excited to use. When you have those essentials sorted, you can approach each meal with a mix of care and curiosity, whether you’re following a recipe or freestyling from the fridge.
What one ingredient can instantly improve any dish?
For me, it’s a close call between garlic and good-quality olive oil with a squeeze of fresh lemon. These are not just great ingredients on their own, but they form a trio that can transform even the simplest of dishes into something really special.
Garlic is one of those essentials I cannot live without. If it is raw and fiery or slow-cooked until soft and sweet, it brings a depth of savory flavor that is hard to beat. It’s the backbone of so many cuisines and adds warmth and complexity that instantly makes a dish feel more complete.
Good-quality olive oil is so much more than a cooking medium. The right bottle adds real character — fruity, sometimes peppery with a richness and silkiness that gives food a beautifully rounded finish. It also carries a personal significance for me. It brings back memories of the flavors I grew up with. And just a dash of fresh lemon juice can completely change a dish. It cuts through richness, lifting flavors, and adding that bit of brightness that makes everything taste fresher, lighter and more alive.
When you go out to eat, do you find yourself critiquing the food?
I try to approach the experience with an open mind rather than picking things apart. If something doesn’t quite suit my palate, I simply make a quiet mental note and I’m probably just not going to order it again. Cooking is a form of expression, and not every dish is meant to please everyone.
What’s the most common issue that you find in other restaurants?
It tends to come down to the basics: attention to detail and solid training. It’s often the small things — an under-seasoned sauce, a lukewarm plate, or a misstep in communication between the kitchen and front of house — that can affect the whole experience. Most of these issues are not about talent, they are about consistency, care and making sure everyone on the team is properly supported and well-trained. When those foundations are in place, it really makes all the difference.
What’s your favorite cuisine to order?
I have a soft spot for the artistry and surprise of Japanese cuisine, but what I really savor when dining out is the chance to explore new culinary styles — whether it’s the bold flavors of street food, the elegance of fine dining, or the comfort of a cozy local spot. I love that feeling of trying a new flavor or technique for the first time — it keeps things exciting for me.
What’s your go-to dish if you have to cook something quickly at home?
A simple pasta dish. The combination of garlic sautéed in olive oil with a basic tomato sauce is incredibly quick to prepare and always satisfying. Alternatively, a no-cook option I often rely on is a classic French cheese and salad with crusty bread — minimal effort for a delicious and well-balanced light meal.
What customer request most annoys you?
I genuinely don’t find requests a hassle; I see them as an opportunity to really understand individual needs and come up with creative solutions. Flexibility and a bit of patience are crucial in making sure everyone has a great experience.
What’s your favorite dish to cook?
Veal cheek blanquette. It requires a few patient hours of simmering, but the process is incredibly rewarding. I really enjoy the mindful attention it demands, from the initial browning to the gentle simmering that fills the kitchen with a comforting aroma.
What’s the most difficult dish for you to get right?
I find Indian cuisine the hardest. The art of balancing the blend of spices is not easy. It’s not just about knowing which spices to use, but also the quantities and the precise moment to add them during cooking. It is a delicate dance to make sure no single spice dominates the others.
What are you like as a leader? Are you a disciplinarian? Or are you more laidback?
My approach is all about empowerment and trust. Of course, a structured and disciplined environment is important to maintain high standards, but I firmly believe that respect and genuine support are far more powerful motivators than fear or intimidation. I aim to create a team where everyone feels proud of what they bring to the table and confident enough to take initiative. They know they’ve got my full support, which gives them the freedom to grow, experiment and really shine in their roles.
RECIPE
Chef Eric’s Mediterranean grilled seabass with vierge sauce
(Supplied)
Ingredients:
1 whole Mediterranean seabass (1.2 Kg)
Fleur de sel
9 gr fennel seeds and herbs (tarragon, dill, thyme, rosemary)
1 pc of lemon
20 cl extra virgin olive oil
Method:
1. Clean and pat the fish dry (ask supplier for scaling/gutting).
2. Brush the fish inside and out with olive oil.
3. Score skin with cross marks on both sides.
4. Stuff the belly with lemon slices and mixed herbs.
5. Place the fish on a tray, drizzle with olive oil, herbs and fleur de sel.
6. Bake it in a preheated oven at 180°C for 15-20 minutes.
7. Rest the fish, tented with foil, for 5-10 minutes before serving.
8. Fillets will be easy to remove after resting.
9. Serve hot with sauce vierge.
Note: Cooking time varies with fish size.
Vierge sauce
Ingredients:
Tomatoes on vine – 150gr
Basil leaves – 24gr
Taggiasche olives – 50gr
Lemon pulp diced – 50gr
Olive oil extra virgin – 120grs
Salt
Pepper
Method:
Score tomato skin with a cross, blanch in boiling water for 20 seconds, deseed and peel.
Sprinkle tomato petals with salt and drain on paper towel.
Quarter the taggiasche olives.
Dice the fresh basil leaves.
Dice the lemon pulp evenly.
Dice the salted tomato petals evenly.
Combine all ingredients in a bowl with salt, pepper and extra virgin olive oil.
Saudi artist Mohammad Alfaraj’s ‘Seas Are Sweet, Fish Tears Are Salty’ opens in Dubai
Updated 26 June 2025
Jasmine Bager
DHAHRAN: Saudi artist Mohammad Alfaraj, who recently won an Emerging Artists’ Medal at the Art Basel Awards in Switzerland, launches his first institutional solo exhibition this month at Jameel Arts Center in Dubai.
“Mohammad Alfaraj is part of a new generation of fast-rising artists from the region, deeply attuned to their landscapes, communities and traditions,” Art Jameel’s deputy director and head of exhibitions and programs Nora Razian said in a statement. “His is a practice that is both poetic and critical, and we are incredibly thrilled to host his first institutional solo exhibition, which offers a profound and intimate glimpse into the ways cities, communities and even languages experience change.”
Saudi artist Mohammad Alfaraj. (Supplied)
“Seas Are Sweet, Fish Tears Are Salty,” which runs until January, consists of multimedia works that often incorporate found objects as well as organic materials indigenous to Alfaraj’s hometown of Al-Ahsa, such as palm fronds and dates.
Curated by Art Jameel’s Rotana Shaker, the show winds through both the indoor galleries and outdoor courtyards of the center. Themes of environment, community and shared memory emerge — often filtered through humor and tenderness.
“I’m pretty new to the ‘art world’ but definitely immersed in art itself, whether I choose to be or not,” Alfaraj tells Arab News. “I’m always looking for metaphors and different ways of looking at the world, and trying to piece it together as an enormous complex mosaic that I’m lucky to experience and be part of.”
The title aptly captures the tone of the exhibition — childlike, poetic and emotionally resonant.
"What does the water dream of but to burst into flames." (Supplied)
“Imagining, and believing, that what makes the oceans and seas salty is fish’s tears is very childish — and super-empathetic too,” he continues. “To feel and recognize the suffering of the other — whether a human, an animal or any living creature — is absolutely necessary in today’s world, which unfortunately seems to be heading towards more apathy.”
Alfaraj comes from a family of farmers, and Al-Ahsa — a lush oasis full of palm trees — frequently inspires his work. He often uses nature as both a canvas and a tool, letting organic material shape his artistic language.
“I’m attracted to a certain material because it matches the concept and the idea of the work; like, to use rice paper to tell stories about the fading rice farming in Al-Ahsa, or making a film about water irrigation while filming it and projecting it at the same angle on water. This way of coupling the medium and concept seems to have a much stronger impact to me — more tactile, engaging and alive,” he says. “Intuition is a wonderful, mysterious compass.”
For “Seas Are Sweet, Fish Tears Are Salty,” Alfaraj and Shaker sifted through the artist’s archives to try and understand the different ways in which he expressed his work through various mediums.
“(Alfaraj) is an artist whose practice doesn’t really fit rigid definitions; it’s very fluid, oftentimes using found or natural materials,” Shaker tells Arab News. “It was a fun process to spend time with Mohammad and understand all these different facets of his practice, to pull out prints and drawings from his stacks of papers in his studio in Al-Ahsa, or to go through his hundreds and hundreds of photographs that he’s digitized, as well as to think playfully about what it is that he wants to intervene in within the exhibition space.
“The experience was a balancing act between finding moments we can create impactful presence within the space, while at the same time allowing for in-situ interventions, which are very much characteristic of Mohammad’s practice,” Shaker continues.
Several new commissions were also developed specifically for this show.
“He came (to Dubai from Al-Ahsa) with a suitcase of papers and drawings,” Shaker says. “I found a note amongst his papers where he had scribbled an idea and it was a great opportunity for us to bring this to life.”
The show offers a contemplative and immersive encounter with a world shaped by memory, landscape and imagination; inviting viewers to take a deep breath, listen deeply, and trace the intricate connections between place, language and time.
On the exhibition’s opening night, June 25, Alfaraj and Shaker will discuss the show and the real and imagined worlds they evoked within. That will be followed by a 10-minute reflective performance by Alfaraj titled “The Missing Piece.”
And the artist is hopeful that his show will inspire change in its viewers.
“To make them feel — to inspire them to be more kind, to be more caring and more sensitive,” he says. “That would be more than I could ever wish for.”
Review: Toronto Arab Film Festival screens searing ‘Arze’
Updated 24 June 2025
Celine Hijazi
DUBAI: The Toronto Arab Film Festival, running from June 20- 29, screened the scathing yet poignant Lebanese film “Arze,” directed by Mira Shabib.
The ambitious “Arze” — which means "cedar" in Arabic — follows the story of Arze, a single mother supporting her teenage son and love-struck sister through a homemade pie delivery business. In an effort to improve their lives, she steals and sells her sister’s jewelry to buy a scooter for her son to use for deliveries. But when the scooter is stolen, mother and son embark on a frantic journey across Beirut to recover it.
On the surface, “Arze” tells a story that resonates deeply with many Lebanese families caught in financial limbo. It explores the emotional toll of such hardship, with questions arising as to whether one should leave the country or give up remnants of a once-comfortable life to survive Lebanon’s shifting socio-economic landscape.
Beneath the family drama lies sharp satire. Even the film’s title that references the cedar tree, a national symbol of Lebanese identity, carries layered meaning. Like the character herself, that identity appears fragmented, constantly lost amid the country’s sectarian divides. This is where the film truly shines: Arze, portrayed with emotional depth by Diamand Abou Abboud, dons various religious symbols and disguises to navigate Beirut’s fractured neighborhoods.
Shabib excels in exposing the farce of sectarianism, insinuating that Lebanon’s religious divisions are not deeply rooted but socially constructed and performative. Arze’s ability to blend into different communities simply by changing her appearance highlights how fragile and superficial these boundaries truly are.
In this sense, the film excels in its portrayal of a fourth main character: Beirut itself. Through Shabib’s lens, we are taken on a tour of a city so diverse it borders on overwhelming. Yet this diversity, rather than being a source of division, becomes a stage for a pointed critique, one that targets society’s fixation on appearances and its preference for the performative over lived reality.
