Ithra will be present at the Beijing International Book Fair, which will be held from June 19-23, and the Seoul International Book Fair, which will be held from June 26-30
Participation is part of Ithra’s wider mission to promote cross-cultural exchange, raise awareness and foster understanding through knowledge-sharing
Updated 13 June 2024
Arab News
DHAHRAN: King Abdulaziz Center for World Culture, also known as Ithra, will be present at two of the most prominent cultural events in Asia this summer.
The events are the Beijing International Book Fair, which will be held from June 19-23, and the Seoul International Book Fair, which will be held from June 26-30.
This participation is part of Ithra’s wider mission to promote cross-cultural exchange, raise awareness and foster understanding through knowledge-sharing.
This book tour will also launch the Mandarin and Korean versions of “Al-Mu’allaqat for Millennials,” a collection of 10 pre-Islamic Arabic qasidahs, or odes, each considered among the most important pieces penned by Arab poets of the 6th century.
The selection represents a shining example of early Arabic poetry. The book is intended to educate new generations about the social and philosophical values of those ancient poems.
Ithra Library will showcase its status as one of the largest and most technologically advanced in the Middle East and solidify itself as a world-class destination for readers from around the globe, offering a variety of resources and tools.
“Ithra is a cultural landmark not just in the Kingdom of Saudi Arabia, but across the Arab World and the globe as well,” Tariq Khawaji, cultural advisor to Ithra, said.
“Our goal at BIBF and SIBF is to expand our reach and encourage greater collaboration, cultural exchange and knowledge sharing. Our presence here serves as a window into our offering, our country and our culture. We are excited to share and start conversations that lead to deeper understanding and continued positive cultural exchange.
“Last year, the Ithra Library had over 700,000 visitors. We successfully conducted more than 100 reading club sessions, 15 programs, and around 175 cultural sessions,” added Khawaji.
“Our library’s programs are not exclusive to the Kingdom of Saudi Arabia,” he continued. “Some of our initiatives now take place in seven cities across the globe and we are hoping to expand that further.”
The Beijing fair, now the second largest book fair in the world, attracts more than 2,600 exhibitors from more than 100 countries and regions every year.
The Seoul fair has been South Korea’s largest book fair for around 70 years and is considered an important platform in the publishing industry.
Ithra Library, housed within the headquarters of Ithra in Dhahran, is a four-story structure, covering more than 6,000 square meters, and is home to over 340,000 books in English and Arabic.
The library applies the latest technologies and tools, including RFID technology that streamlines book borrowing, as well as a smart book returning and sorting system. The library offers free internet, and supplies interested parties with computers for research and study purposes.
The first digitally integrated library in the Kingdom, Ithra’s Digital Library serves as a digital haven of over 50,000 free e-books and audiobooks available to book lovers from across the globe, as well as over 7,000 newspapers and magazines available in 60 languages.
Peace and pottery: women-only workshops in Riyadh a haven for creativity and wellness
Terracotta Studio in Riyadh offers courses for all abilities
‘The turnout has been tremendous,’ owner Ghada Al-Malki says
Updated 28 September 2024
Waad Hussain
RIYADH: Terracotta Studio, a women-only pottery space, is shaping more than just clay. Run by Ghada Al-Malki, the venue offers women the chance to explore pottery as both an art form and a therapeutic escape.
Al-Malki said her experience studying psychology helped her to see the benefits of handicrafts, which she described as “a form of therapy.”
Workshops at Terracotta Studio, located in the Al-Yasmin district of northern Riyadh, are exclusively held for women. (AN photo by Huda Bashatah)
Her interest in crafting began with beading but later expanded to pottery.
“When I worked with beads, I felt: Wow! So I thought I must learn another craft. I learned pottery and once I did I opened the studio.”
I thought people needed to experience what I went through and see how pottery helps release negative energy, which is what we need in today’s world.
Ghada Al-Malki
It was that feeling of excitement and exhilaration that she wanted to share.
“I thought people needed to experience what I went through and see how pottery helps release negative energy, which is what we need in today’s world.”
(AN photo by Huda Bashatah)
Located in the Al-Yasmin district of northern Riyadh, Terracotta Studio offers a variety of pottery workshops for all abilities.
“The studio is exclusively for women, so they can feel comfortable,” Al-Malki said.
“We have pottery workshops where I teach them how to make cups, plates, or paint the pieces we’ve made. Painting itself is an art.”
(AN photo by Huda Bashatah)
She said the response she had received was beyond her expectations.
“Honestly, I was really surprised … The turnout has been tremendous, which shows that we really need a space to release our energy.”
She said some of her customers had even said they had been sleeping better after attending her classes.
(AN photo by Huda Bashatah)
“The most satisfying part of running this studio is when a customer leaves happy and comes back to tell me: ‘Ghada, thank you, I really enjoyed it.’
“Sometimes people contact me later and say: ‘Ghada, I truly felt like I had the best sleep in a long time; I feel much more relaxed.’ That feeling wipes away all the exhaustion at the end of the day.”
While the studio might be great at helping her clients to unwind, running it was not always easy, Al-Malki said.
(AN photo by Huda Bashatah)
“The biggest issue we face is real estate. Rental prices are high and raw materials are not available in Saudi Arabia, so they are expensive for us. But, thank God, we try to manage the challenges as much as we can.”
Al-Malki said she hoped to expand the studio’s offerings in the future.
“I aim to create spaces specifically for children. You cannot imagine how much children need this craft and playing with clay.”
As well as its regular workshops, Terracotta Studio hosts exhibitions where students can display their work.
Palestinian-Chilean artist Elyanna will open for the band.
The 22-year-old has been a frequent collaborator of the group this year, joining the band on stage at their Glastonbury set. Last week, she released the Arabic edition of the band's new song “We Pray.” On Saturday, she performed with Coldplay in Las Vegas.
Promoters Live Nation Middle East confirmed Abu Dhabi will be the only stop in the region for the band.
Saudi artist Heba Ismail: ‘I see so much beauty in Arab culture in general’
The Saudi artist discusses ‘Hebaism,’ the term she has coined for her Picasso-influenced practice
Updated 27 September 2024
Rawaa Talass
DUBAI: Saudi artist Heba Ismail doesn’t lack ambition. “I want to be the second Picasso — the female Picasso,” she tells Arab News.
Born and raised in Jeddah in the Nineties, Ismail, who is also a qualified dentist, grew up in a household that valued art. Her father had lived in both Egypt and England and happily passed on his knowledge of art and history to his two children.
In their home, there was a copy of the famed Spanish artist Pablo Picasso’s 1937, black-and-white masterpiece “Guernica” — based on the devastating bombings of the Basque town during the Spanish Civil War. It left a strong impression on the young Ismail.
Heba Ismail, 'Alyah.' (Supplied)
“‘Guernica’ is so scary for a child,” she says. “We had a huge replica of it in our living room, taking over nearly half of the wall. I used to stare at it — and you can see and feel the fear in it. But, in a way, I also used to see beauty in it.”
Picasso’s radical cubist art has been a major influence on Ismail’s own practice, which she refers to as “Hebaism.” And despite the increasingly negative reports, and opinions, of the late Spanish artist as a person, Ismail is still inspired by his painting.
“I feel that all of us are full of flaws,” she says. “If you’re going to dig deep into any role model in history, you’re going to find a lot of bad stuff about them; I know Picasso was controversial (because of) how he treated women.
'Floral man.' (Supplied)
“I love being a pioneer — being the first one to do something. I love that Picasso made his cubism art movement. It was so out-of-the-box and that’s what I admire about him,” she continues. “He was creating something out of nothing. When realist artists made art, they drew something as they saw it — it already existed. Picasso drew something out of nothing. It was a form of creation.”
Ismail works mostly with painting, producing maximalist, thick-lined, angular portraits of people often dressed in traditional Saudi (and Arab) clothing or featuring local props and motifs, such as scarves and coffee cups.
“I am very proud of my Saudi heritage,” she says. “I see so much beauty in Arab culture in general. I want my work to speak to all Arabs, not just Saudis.”
On closer inspection, many of Ismail’s works can be read as psychological studies too, exuding tension and confusion.
'Shamikh.' (Supplied)
“When I’m painting, I try to create characters out of nothing. I want something that is not from reality, something from another realm. That’s why I respect Picasso’s art. He’s not painting something he is seeing; he’s painting something he is feeling,” she explains. “Art pieces shouldn’t tell you how to think, they should tell you how to feel. When people perceive my art, I want it to help them process their feelings. It’s kind of therapeutic in a way.
“I consider my art as my personal diary,” she continues. “Some of my paintings are close to my heart, telling a personal story of a traumatic experience or a feeling — either joy or sadness — that I had. A person’s life is not going to be all rainbows and butterflies.”
Ismail divides her time between art and medicine, two opposite fields that fascinate her. “I lose track of time and I’m always happy painting. Unlike dentistry, I don’t consider it work,” she says. “I always had a knack for art. I loved to draw in school books and I used to do graffiti in school. I’ve wanted to be an artist since I was a baby, but I had to have another career.
'Autumn leaves.' (Supplied)
“I loved medicine as well. There’s a weird connection between art and medicine: Leonardo da Vinci used to do anatomical drawings. I chose dentistry because it’s a skill that I can do with my hands. I love working with my hands. I felt there was something artistic about dentistry, which requires delicate and artistic hands. When I was studying dentistry, I put art to the side, but even my notebooks were full of sketches.”
As a youngster, Ismail attended art classes at Darat Safeya Binzagr, a multi-purpose and influential cultural center in Jeddah founded by Saudi artist Safeya Binzagr, who died this month. “May she rest in peace,” says Ismail. “She truly was the only one who was thinking about nurturing artistic talent for Saudis.”
Heba Ismail. (Supplied)
Ismail’s work will next be publicly shown in a group show, “Modernity Roots,” which runs at the Bilory ArtHaus in Jeddah from Sept. 29 to Nov. 15. She is making a name for herself in the Kingdom with her works (which she describes as “not for everyone, not everyone will understand them”), which have been purchased by Saudi clients and attracted the attention of brands keen to work with her, including major fashion retailer Shein and luxury manufacturing company Kohler. But her ambitions stretch far beyond the boundaries of her homeland.
“Honestly, I want to put my art on the map, worldwide. I want my paintings to be in the auction houses Christie’s, Philips and Sotheby’s,” she says. “I don’t consider it a dream, but a goal. I want to make history as a Saudi woman.”
Recipes for Success: Chef Saud Aljadhi offers advice and a recipe for mataziz
Updated 27 September 2024
Hams Saleh
DUBAI: From being a young boy helping his mother prepare Ramadan meals to becoming a sous chef at The Ritz-Carlton Riyadh Palace, Saud Aljadhi’s journey is one of perseverance, passion and overcoming the odds.
Aljadhi always had a passion for cooking, he says. He would help to prepare salads and soups in his family home near Riyadh.
In 2014, he launched a food truck business, serving burgers. Its success prompted him to quit his job at the Ministry of Education and pursue cooking full-time.
Saudi National Day cake. (Supplied)
“I honestly lost a lot — whether financially or socially — but it was all for my passion,” Aljadhi tells Arab News. “It was a one-man show. I was operating alone.”
Aljadhi’s ambitions led him abroad, first to Canada to study at George Brown College, then to Australia, where he was balancing his studies at Victoria University with working at restaurants while raising his child as a single father.
“I would drop my son off at kindergarten every morning before going to work. It was quite the challenge,” he recalls. “But I got help from my colleagues, many of whom were single parents as well.”
Despite challenges like the devastating fires in Australia in 2019, earthquakes, and the COVID-19 pandemic, Aljadhi’s determination never wavered. He returned to Saudi Arabia in 2022 and landed a position at The Ritz-Carlton Riyadh, fulfilling a long-held dream.
Chorisia Restaurant. (Supplied)
“I used to say I would come to The Ritz-Carlton and be a sous chef,” he says. “I even have a video from over 10 years ago where I made that promise to myself when I was at the hotel. And today, I’m where I dreamed to be.
“It’s nice to reach your dreams and goals in life. It makes me extremely happy,” he continues. “But I still have a lot of ambitions, and I’m working on a plan to achieve them.”
Breaking through societal stereotypes as a Saudi male chef, Aljadhi has earned respect and recognition for his accomplishments. “In our tribe, it wasn’t even allowed to work this job,” he shares. “But now, society accepts me after all that I’ve achieved. It has even become a trend now to be a chef.”
However, he points out, it’s not an easy job.
“People think chefs just cook, but that’s not true. A chef is like a physician, chemist, mathematician, and engineer all in one. For example, right now, I’m working on a cake that’s three by two meters for Saudi National Day. My team and I are measuring everything down to the millimeter. We’re even manufacturing custom molds that aren’t available in the market just to get this cake built. This job isn’t easy — it requires creativity and precision. Just like an engineer builds a building, we as chefs are building a plate and a dish.”
Here, Aljadhi discusses local cuisine, his favorite dish to cook, and his management style.
When you were starting out, what was the most common mistake you made?
My cutting technique was all wrong. How you hold a knife and cut is so important — it really affects the dish. For example, it can change the ratio of leachate in your ingredients. I used to cut my fingers a lot — I have plenty of scars to prove it. But once I learned the proper technique, everything changed. Now, the first thing I teach my Saudi trainees is how to handle a knife properly.
What’s your top tip for amateur chefs?
Specialize in what you love. That’s where you’ll really excel. Find your passion — it might be pastry or baking — and go after it. Focus on what you love and you’ll never get bored.
Moflaq Hasawi at AlOrjouan. (Supplied)
What one ingredient can instantly improve any dish?
When it comes to local dishes, ghee is the magic ingredient. As soon as you add it, the dish instantly gets better. We use it in so many things — kabsa, jareesh, and many other dishes. Authentic, local ghee especially has such a unique flavor. And for spices, coriander is my go-to. It works with so many dishes — falafel, kabsa, molokhiya, you name it. It just adds that extra something.
When you go out to eat, do you find yourself critiquing the food?
I’m really detail-oriented. For example, I love going to Italian restaurants, but I always notice the little things. If a fork or plate is missing from the table, especially in a fine-dining setting, it makes me feel like I’m not welcome. It might annoy the people I’m with, but I can’t help paying attention to those details. When you’re paying for a meal, you expect everything to be perfect. One thing that really stands out to me is how the flavors in the same dish can sometimes change. Maybe they switched the type of cheese or used a different supplier—whatever it is, I can tell right away. Consistency is key in the restaurant business. If the quality starts to vary, it can really hurt the restaurant. Customers expect the same great dish every time, and if that slips, it can cost the business in the long run.
What’s the most-common issue that you find in other restaurants?
Many don’t really understand how much revenue they’re actually bringing in. Not many people seem interested in learning how that financial flow works, even though there’s a lot of government support available to help with it.
When you go out to eat, what’s your favorite dish to order?
Neopolitan pizza. I’m actually opening my own pizza business, focused on making authentic pizza, just like in Italy. I learned from the best at a restaurant in Melbourne that’s been specializing in pizza for over 70 years. They taught me how to make pizza, pasta, and tiramisu the traditional way. It’s surprisingly simple, but it’s all about doing it the right way, starting with making the dough from scratch just like the Italians do.
What’s your go-to dish if you have to cook something quickly at home?
Something like what I had for dinner last night — steak with asparagus, broccoli and cherry tomatoes. It doesn’t even take five minutes. I just sear the steak for two minutes on each side to get it medium-rare, toss the veggies in the pan, and that’s it. Bon appétit!
What’s your favorite dish to cook and why?
I really love making pizza. I let the dough rest for three days to get it just right, and I take great care of it during that time. Everyone knows that when the weekend rolls around, it’s pizza time. I have pretty high standards for my pizza, so I always use the best quality ingredients. It makes all the difference.
What’s the most difficult dish for you to get right?
I honestly think Saudi dishes are some of the hardest to make because they take so much time. For example, margoog can take two to three hours, and jareesh can take up to five hours. Sure, you could make them faster, but the flavor just wouldn’t be the same. Kabsa is probably the easiest local dish to make, but even that takes about an hour and a half before you’re ready to eat.
As a leader, what are you like?
I love working in a positive, happy environment, and I try to bring that energy to the team. I make sure everyone is happy and satisfied. Of course, when mistakes happen, there are times when I can get frustrated. The first time, I’ll address it kindly. But if the same issue keeps happening, especially when it comes to hygiene, I might get a little irritated. I have to be sharp sometimes because, at the end of the day, I’m the manager.
When things do get stressful, I do my best to motivate the team and lighten the mood. I want them to present food with joy, not just treat it like another task. They can all cook, but if the food isn’t made with love, it won’t taste as good. The flavor just won’t be there.
Chef Saud’s mataziz recipe
INGREDIENTS
For the lamb broth:
900g lamb (shoulder or leg, cut into pieces); 2 tbsp olive oil; 1 onion, chopped; 3 cloves garlic, chopped; 3 carrots, cubed; 4 medium potatoes, peeled and cubed; 1L meat or vegetable stock; 2 tsp ground cumin; 1 tsp ground coriander; salt and pepper to taste; fresh parsley or dill for garnish.
For the mataziz dough: 3 cups all-purpose flour; 1 tsp salt; 1 cup warm water (adjust as needed); 2 tbsp olive oil (optional)
INSTRUCTIONS
For the lamb broth:
1. In a large pot, heat the olive oil over medium-high heat. Add the lamb pieces and leave until browned on all sides. Remove from the pan and set aside.
2. In the same pan, sauté the chopped onion until soft, then add the garlic and cook for another minute.
3. Return the browned lamb to the pan. Add the carrots, potatoes, and stock.
4. Stir in the cumin, coriander, salt and pepper. Bring to a boil, then reduce the heat, cover and simmer for 1.5 to 2 hours until the lamb is tender.
For the mataziz dough:
1. In a mixing bowl, combine the flour and salt. Gradually add warm water and mix until a dough forms.
2. Knead on a floured surface for about 5-10 minutes until smooth. Add olive oil for extra flavor and softness, if desired.
3. Cover the dough with a damp cloth and let it rest for about 30 minutes. This helps to relax the gluten.
4. Divide the dough into small balls (about the size of a golf ball).
5. Roll each ball out on a floured surface until very thin (about 1/8 inch thick) and cut to size for the dish.
6. Heat a skillet over medium-high heat.
7. Cook each rolled out dough for 4-8 minutes on each side until lightly browned and cooked through. They should be slightly puffed.
SERVING
Presentation is always an opportunity to show your creativity. My only advice is to reflect nature on the plate. Start with a circle of mataziz dough in the middle as a base for all the vegetables. Don’t forget to add black lemon as it gives a different flavor to the dish. Create a garden around it using meat broth. Add the lamb and add your touch of dill or coriander. The dish should be served hot.
Three highlights from Nabil Anani’s ‘The Land and I’ at Zawyeh Gallery
Updated 27 September 2024
Arab News
DUBAI: Here are three highlights from Nabil Anani’s ‘The Land and I,’ which runs at Zawyeh Gallery in Dubai from Sept. 29 until Jan. 12.
‘The Herd’
The latest solo exhibition from the octogenarian Ramallah-based artist features a host of new works, the central focus of which is, as the name suggests, the land. But his colorful landscape paintings are not realistic portrayals of Ramallah and Palestine, rather they celebrate the country that Nabil dreams of — one in harmony with “nature, without checkpoints, cement barriers, or settlements,” as the gallery explains in the show brochure.
‘Kafr Qaddum’
For Anani, the brochure states, “the Palestinian land is not just a background, but an active participant in the narration of the story of Palestine that concludes with emancipation.” His paintings, it continues, “show an organic relationship between Palestinians and nature, one that has been disrupted by occupation.”
‘Zayta’
These portrayals of idyllic pastoral scenes serve, according to the brochure, “as a meditation and reimagination of Palestine as a living being, something that breathes and moves, reflecting a strong bond between the geography and the people. (Anani) erases the borders between the people and the landscape they live in, making them one unit with a shared history, present, and future. For him, the land is a witness to the Palestinian struggle.”
