Villa Hegra celebrates a year of cultural exchange in the heart of AlUla 

Villa Hegra will connect two fundamental elements of AlUla's landscape, the urban plot and the oasis. (Supplied)
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Updated 01 August 2024
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Villa Hegra celebrates a year of cultural exchange in the heart of AlUla 

  • The CEO of the Saudi-French cultural hub discusses its achievements so far and plans for the future 
 

DUBAI: The Saudi-French cultural institution Villa Hegra — intended as “an incubator for artists and creators” — celebrated the first anniversary of its pre-opening program in July. It has been a year marked by a wide range of cultural activities and concerts, artistic retreats and research programs in the heart of AlUla as part of Villa Hegra’s first pre-opening cycle, which runs until the end of this year.  

Villa Hegra was officially established in an intergovernmental agreement signed on Dec. 4, 2021, by Saudi Arabia’s Minister of Culture Prince Badr bin Abdullah Al-Saud and Jean-Yves Le Drian, then-French minister of foreign affairs, now president of AfAlula (the French Agency for AlUla Development). One of Villa Hegra’s goals is to foster cultural dialogue between Saudi Arabia and France. 




Artists from the Opera National de Paris met with students of the AlUla Music Hub, as part of the Villa’s recent partnership with the opera. (Supplied)

“It is not a private initiative. It is a state-to-state initiative that represents the willingness of two parties to collaborate at the cultural level,” Fériel Fodil, CEO of Villa Hegra, told Arab News’ French edition. “The villa will be a cluster of three assets: the cultural center, where the artist residencies will take place, and which will include a school for tourism and hospitality (Firendi AlUla); an apartment hotel with 80 rooms; and the villa itself.” 

The ultimate aim is to foster dialogue between both international and regional artists, local communities, and the oasis of AlUla. 

“When I think about architects, I go back to their ethos around working with nature rather than against it. When I think about the villa, I want to build humble yet impactful programs (for it),” Fodil said. “Architects in Alula add, complete, and transform. They build around trees to preserve the oasis.” 




American-Saudi artist Sarah Brahim and French artist Ugo Schiavi were the first of Villa Hegra's artists to travel to AlUla in July 2023, as part of the Villa's first preopening cycle. (Supplied)

Villa Hegra will be home to spaces for the performing arts, dancing, research, a digital studio, visual arts exhibitions, and yoga and fitness. It will also host artist residencies. The cultural center and the artist residencies are scheduled to launch towards the end of 2026, following the year-long second cycle of the pre-opening program. The hotel and Firendi AlUla should open in 2027.  

Part of Villa Hegra will also be dedicated to a regeneration of the town’s oasis, and the 10-hectare site itself will connect two fundamental elements of AlUla's landscape: the urban and the natural.  

“We are not (an add-on), we are rooted within the town,” said Fodil. “It is a very dense plot, and then very scattered in the oasis part. That (design) is going back to the heritage of AlUla where you have a winter farm and a ‘rihla’ — or journey — between the winter farm and the summer farm.” 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Villa Hegra has already initiated research into the cultural and socio-economic impact of cultural activations by the Royal Commission for AlUla on the local community. “The cultural center’s main objective is to engage with the community. We are working on the cultural program to reach the villa’s local and international ambition equally,” Fodil said. 

“We are trying to have a number of pre-opening programs — exhibitions for artist residencies, and public outreach activities, around podcasts, publications, and cinema,” she continued. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Naturally, French culture will play a major role. Following a successful concert organized by Villa Hegra at Maraya Concert Hall in January, the Opéra national de Paris will be back in AlUla to perform and to hold further workshops. The villa’s partnership with the Opéra national de Paris is in line with the Kingdom’s cultural ambitions, with the Royal Diriyah Opera House set to open in 2028. 

And over the past year, Villa Hegra has partnered with several leading French institutions to offer unique cultural initiatives, enrich AlUla’s cultural landscape, and facilitate the exchange of knowledge between Saudi Arabia and France. More than 20 French and Saudi artists have been collaborating and sharing knowledge at the villa, and more than 300 children and teenagers from the local community have participated in multidisciplinary workshops. There have also been talks given by experts in the fields of music, cinema, visual arts, architecture and the performing arts. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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As part of its second pre-opening cycle, along with the performance from the Opéra national de Paris, the villa will also host a science and arts workshop for children and teenagers, and a week of initiation into moviemaking and the history of cinema. 

The distinctiveness of the villa lies in its duality — Saudi and French, urban and oasis, open to children and adults, and with a local and international outreach. 

Partnerships are essential to the cultural identity of Villa Hegra. Whether through student exchange programs, research, or live events, the objective is to build momentum around art in the region. 

“We are also trying to find partners from the Saudi side, such as Hayy Jameel in Jeddah,” Fodil said. “We are looking for partnerships that have a look and feel of dialogue and have a training component to them, while bringing the best of both French and Saudi expertise.” 


Founder of Saudi Arabia’s fine art movement Safeya Binzagr dies at 84

Saudi artist Safeya Binzagr, best known as the pioneer of the Kingdom’s fine art movement, died on Thursday.
Updated 12 September 2024
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Founder of Saudi Arabia’s fine art movement Safeya Binzagr dies at 84

  • Pioneer forged a path of opportunities for many artists to follow
  • Her first exhibition was in 1968

JEDDAH: Saudi artist Safeya Binzagr, best known as the pioneer of the Kingdom’s fine art movement, died on Thursday and will be buried tomorrow after Friday prayers. She was 84.
Jeddah and Our Sweet Days Foundation mourned her death in an obituary post on X saying: “With great sadness and sorrow, Jeddah and Our Sweet Days Foundation mourns the esteemed professor Safeya Binzagr, who passed away today Sept. 12, 2024. Prayers will be held for her tomorrow, immediately after Friday prayers, at Al-Jafali Mosque, and her body will be buried in the cemetery of Umna Hawwa.”
Born in 1940, Binzagr forged a path of opportunities for many artists to follow, according to Vogue Arabia.
Along with her friend, Mounirah Mosly, she was one of two female artists to hold the first art exhibition in the Kingdom in 1968.
Born in Jeddah, Binzagr began her education in Cairo, completed high school education, and spent three years at a finishing school in England. In 1976 she obtained a diploma in art and design at Central Saint Martins, London.
In 1964 in Jeddah, Binzagr witnessed the rapid changes impacting all aspects of life, in clothes, customs and habits. She began her artistic journey inspired to record social history, traditions and folklore.
Her first exhibition was in 1968. Binzagr authored the books “Saudi Arabia: An Artist’s View of the Past” and “A Three-Decade Journey with Saudi Heritage.”
In 1995, she established “Darat Safeya Binzagr,” a cultural center containing her artwork, cultural collection, studio, and an art and literature library.
She was honored in 2017 by King Salman bin Abdulaziz for her contribution to Saudi art and culture with the King Abdulaziz Medal-First Class.


Pakistan cancer survivors turn to art for healing and hope

Updated 12 September 2024
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Pakistan cancer survivors turn to art for healing and hope

  • Two-day exhibition at PNCA in Islamabad featured work by nine cancer survivors 
  • In Asia, Pakistan regionally represents the most significant breast cancer rate

ISLAMABAD: Fatima Salman, a 43-year-old miniature painter, found solace in art after being diagnosed with cancer in 2019, using her brush and canvas as therapy to overcome the disease and paint her way to healing. 
Nearly five years later, she curated the two-day Connecting Dots art exhibition at the Pakistan National Council of Arts (PNCA) this week, featuring the work of nine cancer survivors whose techniques range from oil, watercolors, mixed media and calligraphy.
Cancer has become a growing burden in Pakistan in recent years, posing a significant cause for concern. An International Agency for Research on Cancer (IARC) report in 2021 says the proportion of newly diagnosed cancers is 0.18 million in Pakistan, the number of cancer fatalities is 0.11 million, and the number of prevalent cases (5 year) is 0.32 million. In Asia, Pakistan regionally represents the most significant breast cancer rate, with one out of nine women now having a lifetime risk of the disease. Pakistan also has one of the highest breast cancer mortality rates globally.
“Initially, after my diagnosis, I had taken a little break from painting,” Salman, who graduated from Lahore’s renowned National College of Arts in 2001, told Arab News at the exhibition. 

Pakistani artist Fatima Salman gestures as she displays her artworks during the two-day Connecting Dots art exhibition at the Pakistan National Council of Arts on September 11, 2024. (AN Photo)

“But soon I felt a void … So, that’s when I thought that I don’t have much time, and I have so much work to do. So, I started painting, that was my therapy.”
Even after her recovery from stage four metastatic cancer, Salman said her creative work proved vital for her to open a new chapter of hope in her life.
“As I went through all the life-changing challenges, I thought that I could not be the only one going through this,” she added. 
Salman then started looking for other cancer survivors interested in exhibiting their artwork.
“The basic idea is to create a platform for artists who can just come together and voice their feelings through art,” she said about the exhibition this week, which also saw the launch of a deeply personal memoir, My Cancer Journey, by Shirin Gheba Najib.

Pakistani artist Shirin Gheba Najib speaks to former Pakistani culture minister, Jamal Shah, during the two-day Connecting Dots art exhibition at the Pakistan National Council of Arts on September 11, 2024. (AN Photo)

A 70-year-old retired school principal, Najib said painting had always been a “constant” in her life since she completed her first oil painting at the age of 12 but she had to put her passion on hold when she was diagnosed with breast cancer in 2021.
Weakened by the illness and the relentless trips to the hospital, she found refuge in writing instead. 
“I used to take my laptop to chemotherapy as each session used to take six to eight hours, where [one could] write very freely,” Najib told Arab News. 
The articles crafted while battling for her life became the foundation for the newly launched book and also gave Najib the impetus to go back to painting. 
“Now that I’m completely out of cancer, which was within 15 months, now I’ve started painting again,” she said with a smile.
Speaking to Arab News, another artist, Ambreen Rashid Khan, reflected her newfound appreciation for life following her battle with stage 4 breast cancer, diagnosed four years ago. 
“It’s strange,” the 65-year-old retired schoolteacher said. “You take life for granted until something like this happens. After that you learn that your time is short. So that is it, I love color and I love happiness.”
Khan said she started painting flowers in bright colors after her recovery as a display of her “gratitude and happiness.” 
Experimenting with both oil and watercolors, she said her aim was to paint life and nature itself.
Asked about her ambition, she said that she wanted to “leave something behind” as her legacy but also to live out the rest of her days “in happiness.”
Sixty-year-old Nafisa Ather, an Islamic calligrapher, also said painting became her biggest source of solace when she was diagnosed with cancer.
“Cancer struck me [and] the thing which I didn’t have in me before was the fear that you are going to die,” she told Arab News. “And I just felt that I still have to fulfill some of my responsibilities, which have not been fulfilled. So, I think that gave me courage.”
Painting had helped her fight her fear of death, Ather said. 
“You are creating something, you are making something and actually you forget your fear. That’s the beauty of it.
“Don’t give up on life,” she added. “If you give up, you’ll lose the battle. You have to believe you will survive.”


Faisal Samra: ‘If I’m not an artist, then I don’t exist’

Updated 12 September 2024
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Faisal Samra: ‘If I’m not an artist, then I don’t exist’

  • The Saudi-Bahraini artist discusses his roots and how it helped develop his experimental style

DUBAI: The seasoned Saudi-Bahraini artist Faisal Samra always knew what he wanted to achieve in his life, and faced down resistance with his rebellious nature.  

“Everything was fixed and planned,” he says, looking back on his formative years. “Since my childhood, I knew what I wanted to do.” 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Born in Bahrain in 1956, Samra is the descendant of a Saudi family that had settled in British-ruled Bahrain, where, he says, work opportunities were, at the time, more readily available than in the Kingdom. Samra, who is based between Bahrain and Spain, describes his early years in Bahrain, spent in a large and old Khaleeji-style house, as crucial to his future career. 

“As a child, when my family had people over for big meals, they cooked over fire and wood, which transformed into charcoal. I took this charcoal and made lines on walls,” he tells Arab News with a laugh. “It all started from this moment. This was an important stage because I still work with charcoal. My parents would paint over the scribbles, but I drew again. I wasn’t just drawing on walls at home, but also on the streets. At school, I was drawing on tables and I couldn’t control myself; I was obsessed. When I was six or seven, my art teacher told me, ‘Instead of drawing on tables, here is a piece of paper and some coloring pencils,’ and it was through him that I discovered colors. My parents never bought for me art materials to encourage me, but I kept drawing until this day.”   

“Performance 36” from Faisal Samra’s “Distorted Reality” series, 2007. (Supplied)

At the age of 12, Samra and his family moved to Saudi Arabia, settling in the Eastern Province. At school, he continued his pursuit of art and theater. He and his friends, he says, became “the talk of town.” When he was 14, he received his first art book — a collection of Michelangelo’s drawings. All in all, art was, and still is, his life.  

“Art is not separate from me. It is not a job, but an activity of making life. On a daily basis, whether I am working on a project or not, I have to draw something,” he says. “If you truly want to do art the right way and live in it, it has to be a disease. You can’t get rid of it, as if you’re pressing a ‘Stop’ button. True art has to live inside your body and surround you every moment. It’s a question of existence: If I’m not an artist, then I don’t exist.”  

During the 1970s, in his late teens, Samra decided he wanted to study art abroad, specifically in Paris — an idea that was quickly rejected by his family. He says that back then the regional art scene lacked both mentors and access, so he wanted to go where the action was: Europe.  

“In one way or another, I had to leave,” he says. “And I didn’t want to study art (just) anywhere: I wanted Paris, I wanted the École Nationale Supérieure des Beaux-Arts because it was the most challenging art school to get into at that time.”  

To save up money, Samra worked as a clerk at the petroleum company Aramco, while applying for delegations, via Riyadh, for educational opportunities abroad. And, in 1974, aged 18, he travelled to Paris, thanks to support provided by the Ministry of Media. It was there that he would learn about modern and contemporary European artists, and also attend art critique sessions.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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During the 1980s, Samra spent his time in Saudi Arabia and, later, in France, where he took on the role of art consultant at the Institut du Monde Arabe, the then-newly founded cultural center for Arab affairs. As for his own art, a few exhibitions were set up in Paris in the late Eighties and early Nineties. Today, his works have been acquired by, among others, the British Museum, the Jameel Art Foundation, Mathaf: Arab Museum of Modern Art, and the Bahrain National Museum, and he is currently represented by Ayyam Gallery in Dubai.   

Over the years, Samra has experimented with film, performance, painting and photography. “I don’t like still water; I like it to be moving. I’m exploring to find something different,” he says. “The core of my research is man’s existence in our world, and how we react to it, and how the world reacts to him.”  

A recent Faisal Samra exhibition in Dubai. (Courtesy of Pia Torelli)

A sense of disturbing movement occupies some of his figurative works, as in his recent painting series “Immortal Moment (Coping With The Shock),” which depicts open-mouthed faces, partially covered with an explosion of paint, as if they have been shot. One of his best-known series, “Distorted Reality,” which was intended to confront media biases in the early 2000s, features covered individuals in blurred motion. In essence, such bold works portray the troubled state of the world, and he doesn’t sugarcoat his words.  

“We are living in times of change, but not development — “development” means that you are headed to something better,” says Samra. “If we developed in a certain area, then we destroyed something else. We invented things but we lost things at the same time.”   


Camila Cabello shines in Tony Ward couture at MTV awards

Updated 12 September 2024
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Camila Cabello shines in Tony Ward couture at MTV awards

DUBAI: American singer-songwriter Camila Cabello made waves at the MTV Video Music Awards when she dazzled in a breathtaking gown by Lebanese-Italian designer Tony Ward. 

The dress featured a black lace design adorned with intricate embroidery that flowed across sheer fabric, with a fitted silhouette and semi-transparent sleeves. She completed the ensemble with a dramatic black lace veil.

The dress featured a black lace design adorned with intricate embroidery that flowed across sheer fabric. (AFP)

Meanwhile, pop icon Taylor Swift dominated the night, taking home seven trophies. The accolades put her on level terms with Beyonce as most-awarded musician in the VMAs’ 40-year history.

Swift snagged the top honor, Video of the Year, for the bleak black and white “Fortnight,” featuring Post Malone. “Good Luck, Babe” singer Chappell Roan was named best new artist.

Blackpink singer Lisa won best K-pop video for her solo hit “Rockstar, while South African artist Tyla claimed the Afrobeats award for “Water” and Brazilian singer Anitta snagged best Latin video for “Mil Veces.”

The show opened with rapper Eminem performing “Houdini” from his album, “The Death of Slim Shady.” He was then joined via video feed by country singer Jelly Roll for their hit “Somebody Save Me.”

Katy Perry, recipient of the Michael Jackson Video Vanguard Award, wore enormous silver butterfly wings as she sang hits such as “Teenage Dream” and “Firework” on a futuristic set.


Gulf Theater Festival in Riyadh revives tradition, fosters regional cultural exchange

Updated 11 September 2024
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Gulf Theater Festival in Riyadh revives tradition, fosters regional cultural exchange

  • For the first time since 1988, the festival is being hosted in Saudi Arabia, celebrating a rich legacy of Gulf theatrical collaboration
  • Event, running from Sept. 10 to 17, brings together artists, performers, and cultural figures from across the Gulf Cooperation Council nations to promote regional artistic exchange

RIYADH: The 14th Gulf Theater Festival kicked off in Riyadh, marking a grand return after an eight-year hiatus.

For the first time since 1988, the festival is being hosted in Saudi Arabia, celebrating a rich legacy of Gulf theatrical collaboration.

The event, running from Sept. 10 to 17, brings together artists, performers, and cultural figures from across the Gulf Cooperation Council nations to promote regional artistic exchange.

Held at the Princess Nourah bint Abdulrahman University Theater, the festival commenced with an opening ceremony that featured prominent figures from the Gulf and Arab theater scenes.

As part of the proceedings, the festival will include a series of competitive theatrical performances, workshops, and discussions aimed at enhancing production and collaboration.

The event also honors creative minds, recognizing their contributions to the art form with a series of awards.

Speaking on behalf of Saudi Minister of Culture Prince Badr bin Abdullah bin Farhan, Sultan Al-Bazie, CEO of the Theater and Performing Arts Commission, highlighted the festival’s significance.

“The festival is a night of Gulf culture, celebrating theater as a platform for creativity that has enriched cultural memory and fostered collaboration between our sister nations,” he said.

Al-Bazie also emphasized the support the cultural sectors receive from Saudi Arabia’s leadership, noting that the festival reflects the Kingdom’s vision for advancing the Gulf theater scene.

“The event aligns with our commitment to creating a thriving Gulf cultural landscape that enhances national identity, encourages dialogue with the world, and boosts the economic sustainability of the arts,” he added.

In an exclusive comment to Arab News, Al-Bazie shared his hopes for the future of the festival.

He said: “The festival returns after an absence of eight years and is held periodically among the GCC countries.

“It will continue to grow stronger and greater and evolve into institutional work to promote aid, theatrical production, training, and joint efforts. These are all hopes we aim to achieve in the coming years.”

With its rich blend of performances, lectures, and cultural exchange, the Gulf Theater Festival is expected to solidify Riyadh’s role as a central hub for regional artistic collaboration.

The event not only revives long-standing traditions but also paves the way for a more sustainable and dynamic future for Gulf theater.