New book series ‘Arabian Explorers’ reintroduces seminal works on Arabian history

William Gifford Palgrave's travel itinerary. (Supplied)
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Updated 30 January 2025
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New book series ‘Arabian Explorers’ reintroduces seminal works on Arabian history

  • Travelogues from Burton, Doughty, Wellsted and Palgrave feature in Arabian Explorers Series  

DUBAI: Driven by romanticism, imperial ambition, and scholarly curiosity, a succession of European adventurers set sail for Arabia throughout the 19th century, laden with expectation and a desire to unravel its mysteries. For many, the goal was a deeper understanding of the region’s history, religion, geography, peoples, and wildlife, as well as the uncovering of Biblical truth. For some, natural history, ethnology, cartography, and archaeology were combined into a single expedition, resulting in the publication of multi-disciplinary personal narratives that fed the Victorian hunger for adventure, discovery, and escapism. 

Among them were Charles Montagu Doughty — the first European to enter Hegra, the Nabateans’ second city after Petra — and James Raymond Wellsted, a second lieutenant of the East India Company, who survived a hurricane off the coast of Magna and took part in a detailed study of the Gulf of Aqaba. Arguably the most famous, however, was the eccentric Englishman Richard Francis Burton, a complex figure remembered for his keen sense of adventure, overt Orientalism, and undertaking the Hajj in disguise. He also embarked on an outlandish mission in search of the legendary gold mines of Midian, an ancient region or tribal confederation mentioned in both the Qur’an and the Bible and thought to be located in north-west Arabia. 

The newly-published Arabian Explorers Series reintroduces travelogues by all three, as well as by William Gifford Palgrave, an intriguing figure who served variously as a soldier, interpreter, priest, missionary, spy, and diplomat. Published by Empty Quarter Press, the series seeks to bring the authors’ vivid depictions of Arabia to a new audience. 




William Gifford Palgrave. (Supplied)

“Throughout their journeys, each author recorded some of the most detailed analyses and observations of Arabia in the English language and precious details about society, cultural customs, political structures, ancient heritage sites, and the shifting power dynamics of the peninsula in this period,” says Jeff Eamon, editor-in-chief at Empty Quarter Press. “We aim to couch each text in its proper context so readers can appreciate their significant historical value (and) understand each author’s subjectivities and perspectives.” 

The reprints include newly commissioned maps, glossaries, and forewords by leading historians, placing these complex and often provocative legacies in context. Included are new editions of Palgrave’s “Personal Narrative of a Year’s Journey Through Central and Eastern Arabia (1862-63),” first published in 1865; volume one of Burton’s “The Land of Midian (Revisited),” originally published in 1879; Wellsted’s “Travels in Arabia Volume Two,” printed in 1838; and Doughty’s “Travels in Arabia Deserta Volume One,” a monumental text first published in 1888. 

“Much of the written information that we have about 19th-century Arabia comes from these travelogues,” explains Eamon. “They have long provided precious information for scholars, students of history, and general readers interested in Arabian culture, social customs, and heritage. With Saudi Arabia’s current investment in its wealth of cultural assets and heritage sites, these publications are amazing sources of information. Doughty, for instance, is the first to document Hegra in minute detail, with detailed sketches of the Nabataean tombs, which have become a major part of Saudi Arabia’s cultural offering.” 




Charles Montagu Doughty was the first known European to enter Hegra and he provided glimpses of the area through his sketches. (Supplied)

The four travelogues have inspired academic inquiry for over a century, but have also sparked debate, not least because of the biases inherent in their authors’ views. Burton in particular, has faced accusations of Orientalism and of perpetuating stereotypical views of Arabia. His observations were often tinged with a sense of superiority and colonial arrogance, although he had great admiration for both Islam and Arab culture. 

“Burton’s views on the Arab world were complicated,” admits Dane Kennedy, a historian of the British imperial world and author of the foreword to “The Land of Midian (Revisited).” “His comments on the Bedouin could be highly critical, though he also promoted a romanticized view of them as princes of the desert. Furthermore, he was a forceful defender of the Islamic faith and Arab culture, so much so that many of his countrymen ostracized him, believing him to be a convert to Islam. 

“He was a man of many talents and vast contradictions. He was both an agent of British imperialism and a critic of it. He was a bigot and a relativist. He was, above all, a man of immense curiosity about other cultures, and he sought to satisfy that curiosity by learning some 25 languages, travelling widely across India, Arabia, Africa, Latin America, and other lands, and often acquiring an intimate knowledge of the local communities he encountered.” 

Palgrave, who made a foolhardy attempt to cross the Nafud desert in July without local guides and barely made it to salvation in Jubbah, also viewed the world through a Eurocentric, colonial lens. The first Westerner to successfully cross the Arabian Peninsula from the Red Sea to the Arabian Gulf (west to east), he travelled in disguise — as a Syrian physician — and filled his narrative with vivid, compelling observations of the landscapes, tribal dynamics, and cultural practices of the Arabian Peninsula. He achieved immediate acclaim upon the publication of “Personal Narrative,” thanks in part to his love of storytelling. 

“We are now more than 150 years on from Palgrave’s Arabian travels and his narrative can be read on various levels — from travelogue to adventure story,” says James Parry, a cultural heritage writer and author of the foreword to the new edition of “Personal Narrative.” “It’s worth remembering that he had a great sense of theatre and wrote his account with his audience very much in mind — it’s a very entertaining read. His descriptions of the places and tribes he visited are fascinating, even if some of his comments about local people and customs are seen as problematic today. They need to be understood as the product of their time, and his account as an historical document.” 

All four travelogues filled in much of the outside world’s knowledge of the Arabian Peninsula. Burton’s account of his journey from Cairo to Makkah, for example, gave the British public a much richer understanding of the region and its peoples. 

“Despite their flaws, it is important to recognize that each author spent years travelling in Arabia, learning the language and customs of its people long before mass transit made the peninsula easily accessible to outsiders,” says Eamon. “While some of their observations can be dismissed now, they nonetheless help paint a picture of pre-industrial Arabia.  

“History-telling is fickle,” he adds. “It carries with it the same baggage that weighs down any human experience. The Arabian Explorers Series is just this: a collection of human experiences, however flawed, that contribute to the broader mosaic that is the history of Arabia.” 


Huge ancient tomb discovered in Egypt 

Updated 27 March 2025
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Huge ancient tomb discovered in Egypt 

  • Site at Abydos, south of Cairo, largest find in over a decade
  • Unknown king’s final resting place thought to be more than 3,600 years old

LONDON: Archaeologists in Egypt have discovered a tomb belonging to an unknown pharaoh around 300 miles south of Cairo.

The site, which is being worked on by Egyptian and American researchers, is the second such discovery to be made this year and is believed to be around 3,600 years old.

The tomb was uncovered 23 feet below Abydos, one of Egypt’s oldest known ancient settlements.

With 16-foot-high vaults and ornate decorations across several chambers, the find dwarfs a previous discovery of a tomb in the area from 2014, previously the largest on record, which belonged to a king called Seneb-Kay.

Josef W. Wegner, a curator at the Penn Museum in Philadelphia who is leading the American side of the dig, told the New York Times: “It’s a new chapter in investigating this dynasty.”

The tomb of the unknown king contains painted scenes from ancient Egyptian mythology, including images of the goddesses Isis and Nephthys.

Describing the find as “exciting,” Wegner said: “This tomb and Seneb-Kay’s tomb are the earliest surviving royal tombs that actually have painted decorations inside of them.”

However, the tomb has suffered significant damage over the millennia, and no identifiable human remains have been recovered.

It is thought that grave robbers also ransacked the site in the past, with little in the way of artefacts found in the tomb.

The damage caused by the break-ins has also left much of the decoration tarnished, including rendering portions of writing on the structure bearing the king’s name illegible.

Wegner said the identity of the tomb’s owner may be found in other inscriptions on monuments and buildings around ancient Abydos, with two kings named Senaiib and Paentjeni identified as potential candidates.

He added that work would continue to preserve the find, and to uncover other tombs that may shed more light on the broader period, and potentially the identity of the unknown king.

“It’s always our dream to find one that’s intact or partially intact,” he said. “There may yet be tombs like that.”

Prof. Anna-Latifa Mourad-Cizek, a University of Chicago archaeologist, told the NYT that the find is “highly significant” for understanding “a fascinating period when Egypt was controlled by competing powers.”

Wegner said the era was defined by “a phase of warrior pharaohs fighting it out,” adding that the skeleton of Seneb-Kay bore wounds that suggested he could have died in battle.

Though the region was fragmented at the time, Wegner said, the Abydos dynasty was not “a kind of flash in the pan where you’ve got a handful of kings breaking off from whatever original territory they belonged to.”

The dynasty laid the foundations for the later unification of the country in what would later become known as “the great empire of the New Kingdom,” he added.


Inside NEOM’s inaugural Artists in Residence program 

Updated 27 March 2025
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Inside NEOM’s inaugural Artists in Residence program 

  • Eight artists, including four from Saudi Arabia, took part in the three-month residency

DUBAI: What does art have to do with the creation of a futuristic city in the middle of the desert? According to Michael Lynch, the head of the entertainment and culture sector at NEOM — Saudi Arabia’s $500 billion megaproject — it has a vital role to play. 

“Building a region also requires artists to be working with us,” Lynch told Arab News. “We're talking about a future region within a forward-looking country. To make a community work, artists are an integral part of it, and to make a region work, artists in their various forms and with the various things that they want to work on are incredibly important to building the quality of life and the quality of experience for people.”  

A detail from Abdulmohsen Albinali's 'Landscaping the Desert,' produced during his NEOM residency. (Supplied)

As proof of NEOM’s focus on art and culture, it kicked off its inaugural three-month long Artist-in-Residence program in September. Four Saudi artists — Bilal Allaf, Ahaad Alamoudi, Abdulmohsen Albinali and Ayman Zedani — took part and were joined by four international artists: Eduardo Cassina from Spain, Tamara Kalo from Lebanon, Giulia Bruno from Italy and Liva Dudareva from Latvia.  

“For the residency, we paired each artist with a peer from eight different sectors across NEOM,” Lynch explained. “We had biotech, robots and design so that each artist had someone largely from the sector of engineering or completely different backgrounds. None of them were artists, but they were all young and interested in the idea of how the artists would work within the context of NEOM.” 

The NEOM “peers” acted as guides to assist the artists in better understanding the region.  

A detail from Eduardo Cassina's 'A Blanket for Dreaming.' (Supplied)

“I think the artworks created at the end of this period were quite different pieces of work but offered really incredible ways to understand the role of the artist within a community, within a future region, within NEOM itself as a starting point,” said Lynch 

NEOM’s culture section collaborated with Dubai-based Alserkal Advisory to develop the residency. Its first phase saw the artists travel to NEOM to learn about the region, its landscape and the upcoming futuristic city. For the second phase, the artists traveled to Thyssen-Bornemisza Art Contemporary, an art and advocacy foundation in Madrid, to work on the ideas inspired by their time in NEOM. The works were then exhibited in NEOM in late November for a short time, accompanied by lectures from the artists for NEOM staff. 

“We saw the residency as a first step for us, and hopefully what we will then be able to do is repeat it over a period of time in venues across the region and ultimately some of the bigger venues that are due to happen with The Line,” added Lynch, referring to the linear smart city due to be constructed in NEOM. 

Ahaad Alaamoudi's 'Work in Progress' on display at NEOM Museum. (Supplied)

Among the works, standout pieces included Cassina’s creation, which mixes the worlds of architecture and sociology. With “A Blanket for Dreaming,” the artist presents the history of the site of NEOM, which spans thousands of years, on a tapestry map, roughly 8.4 meters long and 2.1 meters tall. It tells the story of the area from the Nabataean period to the contemporary era and was created on a “hacked” Japanese automated knitting machine built in the 1990s, which Cassina found in Madrid.  

“We had some people visiting NEOM around the time it was exhibited and they immediately wanted to purchase it,” said Lynch.  

Performance artist Allaf, meanwhile, presented work featuring a dancing robot programmed by one of Neom’s engineers, demonstrating how the worlds of dance, art and robotics could intersect.  

Ayman Zedani's 'To The Eagles, Chapter 2.' (Supplied)

“The engineer is now also interested in how art can (be mixed with) engineering to make major public artworks for Neom in the future,” said Lynch, emphasizing that he hopes that in the same way as Neom has been able to showcase its architectural plans in exhibitions around the world, Neom’s culture sector hopes to be able to “replicate the artist in residence scheme in the next couple of years and have some of the work become part of a potential collection for buildings.” 

Lynch said the residency had exceeded expectations for everyone involved.  

“It was really important, I think, for the artists to understand the complexities of the 26,500 square kilometers of NEOM, and that it isn’t just about The Line as the dominant public manifestation of what has been going on,” said Lynch. “It was about their ability to travel around, look at the site, see what was happening, and to be able to respond to that. And hopefully we will hold onto those connections as we step forward.”


Riyadh’s Ahlam Gallery hosts group show ‘Stories in the Making’

Updated 27 March 2025
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Riyadh’s Ahlam Gallery hosts group show ‘Stories in the Making’

RIYADH: “This is a group exhibition, created by a community of eclectic artists to exchange, talk, collaborate and build a connection in a healthy environment,” Dr. Ahlam Alshedouky, founder of Ahlam Gallery in Riyadh, tells Arab News. 

Alshedoukhy is discussing “Stories in the Making,” a collection of 36 works by local and international artists which runs at the gallery until March 31. Approximately half of the participating artists were pre-selected for their unique stories, while the rest joined through an open call. 

“Most of these works were created in the last year; one of the criteria is to present something new,” Alshedoukhy explains, adding that the exhibition puts “big lights on the artist’s journey and artist’s story.” 

Jeddah-based Salah Jandali, founder of JZB Studio, says he created “functional art” for the exhibition — essentially four stools and a small table — that he hopes people will use to sit and reflect, or engage in conversation with others. The furniture blends traditional craftsmanship with contemporary design. 

“Weaving was part of our daily lives. Today, it has become more of a decoration,” Jandali tells Arab News. “This affects demand — if people aren’t interested in this craft and no one works with it, over time, it will disappear.” But he believes that it “will gradually become widely accepted again.” 

The designer sought out artisans to create the pieces. He collaborated with a palm weaver in Al-Ahsa, who worked from her home farm dyeing the palm fronds to match Jandali’s requirements. He also partnered with a carpenter known for intricate craftsmanship reminiscent of Japanese joinery. Bringing together techniques from both the east and west coasts, the work now comes full circle in the center of the Kingdom, Riyadh. 

Abdullah Alkhorayef’s work for the exhibition, “The Origins,” explores where the designs for Saudi traditional clothing came from. Finding no concrete answers, he instead created his own version of the evolution of traditional wear in the region. “I decided to start at my own zero point, which is today,” he told Arab News.  

“The Origins” comprises an installation made of black cotton linen featuring geometrical shapes that explore the origins of clothing, and a number of silkscreen prints on paper depicting the geometrical forms used.  

The shapes within the black cotton linen installation were created by folding and sewing a simple rectangle in ways that cover the body. Each piece adds onto the previous one: so a simple draped cloth acquires an arm hole, then is divided in various ways — horizontally, vertically, and diagonally — combining mathematical and engineering concepts, to create garments that could be worn by humans.  

Those shapes were then translated into visual compositions using the silkscreen technique and form an alphabet-like system that is personal to the artist, as if creating his own language for clothing.  

“It all starts with simple shapes,” he says. “With all the chaos in the past 40 or 50 years, we lost the reasoning behind anything. With this exhibition, because of the cultural boom happening in Saudi, I just wanted to throw in a question for people to ask, challenge, and research.” 

Saudi artist Zainab Abo Hussain’s tapestry “A Tide Once Near, Now Drifted to Memory” is an ode to her ancestry inspired by Islamic miniature painting, textiles and innovative construction techniques, as well as her own life.  

Zainab Abo Hussain with her work 'A Tide Once Near, Now Drifted to Memory.' (Supplied)

“Childhood memories of my grandmother, who led our family while my grandfather (was) at work in remote areas, are a significant source of inspiration,” she says. “Evenings spent gathered around her, listening to her captivating stories, are cherished moments.”  

The work aims to honor her grandmother by reimagining these narratives through contemporary miniature painting and manuscript art.  

“Henna nights, in particular, provided precious opportunities for connection and storytelling,” Hussain continues. “These experiences deeply influenced my desire to capture and preserve such memories through my art.” 


Best and Worst: Saudi influencer Alya Khalil talks fashion, food and entertainment

Updated 27 March 2025
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Best and Worst: Saudi influencer Alya Khalil talks fashion, food and entertainment

DUBAI: The Saudi influencer talks fashion, food and entertainment. 

Best TV show or film you’ve ever seen? 

“Succession.” The drama, the outfits, the power struggles… it’s just so good. For movies, “Interstellar” blew my mind. The way it explores space, time and human connections is incredible. The visuals are stunning, the music is unforgettable, and the story really makes you think about love, sacrifice, and the unknown. Plus the scene where time moves differently on different planets is just crazy. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Alya khalil (@alya_khalill)

Worst TV show/film you’ve ever seen? 

I couldn’t get into (2009 British horror movie) “Triangle.” It’s the worst horror movie I’ve ever seen. It had an interesting idea, but the way it played out just didn’t keep me hooked. The characters weren’t very engaging, and by the end, it felt like it was trying too hard to be clever instead of actually being scary. 

Best personal style moment so far? 

Wearing evening dresses from my favorite Saudi designer, Huda Bamarouf. Nothing beats that feeling! I’ve worn Huda’s designs so many times, and every single time feels special. Huda is so unique. Her designs mix timeless elegance with a modern flair that truly sets them apart. My favorite piece is her stunning yellow “Alya” dress. It’s so elegant. It made a huge splash on social media, garnering tons of orders.  

Worst personal style moment? 

My teenage years — specifically the neon skinny jeans era. What was I thinking? 

Best accessory for a little black dress? 

A killer pair of earrings or a bold clutch. They are simple but they make a statement. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Alya khalil (@alya_khalill)

Worst accessory for a little black dress? 

I don’t like it when there’s too much going on — like layering a million necklaces with an oversized belt. It just kills the elegance.  

Best fashion trend of 2025? 

Effortless minimalism. It’s chic, clean and timeless. I love it.  

Worst fashion trend of 2025? 

I don’t like some of these extreme Y2K comebacks. Not everything from the 2000s needs to make a return! 

Best advice you’ve ever been given? 

“Stay true to your vision, but be flexible.” It’s been a real game-changer for me. Trends change all the time, and life throws surprises at you, so being able to adapt while keeping your true self has really helped me grow. 

Worst advice you’ve ever been given? 

“Follow every trend to stay relevant.” No thanks. True style is all about curation. 

Best book you’ve ever read? 

“The Alchemist” (by Paolo Coelho). It’s such a good reminder to trust the process. I love how it shows that the journey itself is as important as the destination. It’s not just about chasing your dreams — it’s about embracing every twist and turn along the way. The simple storytelling makes you feel like you’re part of something bigger, and it reminds you that every setback or unexpected turn can lead to amazing discoveries.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Alya khalil (@alya_khalill)

Worst book you’ve ever read? 

“Twilight” wasn’t my thing. I just didn’t love the writing style.  

Best thing to do when you’re feeling low? 

Two things: a little retail therapy and putting together an outfit that makes me feel amazing. Shopping gives me a creative break. And when I step outside in an outfit that boosts my confidence, it feels like I’m reclaiming my power. 

Worst thing to do when you’re feeling good? 

Overcommitting and saying yes to everything just because you’re on a high. While it might feel exciting at first, it can quickly lead to feeling overwhelmed. It sets you up for stress later on and can even affect your credibility if you can’t deliver on what you’ve promised. 

Best holiday destination? 

Italy. It’s beyond gorgeous. Not only does it boast stunning landscapes and charming cities, but its rich culture makes every moment feel like a dream. And the food is unforgettable: every meal is a celebration of taste, from fresh pasta and wood-fired pizzas to decadent gelato. Wandering through Rome’s timeless ruins or the chic streets of Milan feels like stepping into a living museum of art and fashion. Every corner of Italy invites you to slow down, savor the moment, and immerse yourself in a vibrant lifestyle that’s as stylish as it is soulful. 

Worst holiday destination? 

I don’t like anywhere that’s so packed with tourists that you can’t actually enjoy it. 

Best subject at school? 

Art and literature. I’ve always been drawn to creative stuff. 

Worst subject at school? 

Chemistry. I respect it, but it was never my thing. 

Best thing to do to ensure you have a productive day? 

Plan your outfit the night before. It saves time and puts you in the right mindset.  

Worst thing to do when you’re trying to have a productive day? 

Endless scrolling on social media. You suddenly realize that an hour has gone by and you’ve done nothing. 

 

 


Saudi Arabia returns to London Design Biennale with ‘Good Water’ pavilion

Updated 27 March 2025
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Saudi Arabia returns to London Design Biennale with ‘Good Water’ pavilion

DHAHRAN: Saudi Arabia will participate at the London Design Biennale 2025 with “Good Water,” an exhibition exploring the hidden costs and economies of water, running from June 5-29 at Somerset House.

Commissioned by the Architecture and Design Commission, the pavilion is curated by a multidisciplinary design collective comprising Alaa Tarabzouni, Aziz Jamal, Dur Kattan and Fahad bin Naif. Drawing on their backgrounds in architecture, design and the arts, they will challenge conventional notions of access, distribution and the perceived value of water.

Sumaya Al-Sulaiman, CEO of the Architecture and Design Commission, said: “Saudi Arabia’s return to the London Design Biennale marks another chapter in our commitment to design as a tool for dialogue and cultural exchange. We look forward to engaging in conversations on creativity, innovation, and systems thinking during our fourth participation in the event.”

The exhibition responds to this year’s biennale theme “Surface Reflections,” by inviting visitors to reconsider their relationship with water.

At the heart of the Saudi pavilion is a sabeel, a traditional water fountain deeply rooted in Saudi culture that provides complimentary water to anyone who passes by. It is seen as a symbol of hospitality and generosity.

The sabeel, within this context, represents a paradox. While it offers water freely, the reality is that no water is truly free, the exhibition argues. Every drop is made possible through a network of labor, energy and infrastructure — whether extracted through costly desalination, bottled and imported or transported through vast water systems requiring maintenance and oversight. The cost is absorbed by governments, corporations, and workers, yet the long-term impact is shared by all.

In this showcase, “Good Water” repositions the sabeel not just as a gesture of goodwill, but as a question: Who pays for “free” water? What does it truly cost?

“The pavilion uses familiar elements to draw attention to water’s hidden economies,” said the participants Tarabzouni, Jamal, Kattan and bin Naif in a joint statement. “It encourages visitors to drink with awareness, to acknowledge the price, and to recognize that while the cost of good water may be borne by someone else, it ultimately affects everyone. By relocating the sabeel to the London Design Biennale—where water scarcity is not an immediate concern—we reframe it as an object of scrutiny, making the invisible visible and the passive active.”

In 2023, Saudi Arabia participated at the 4th London Design Biennale with a pavilion titled “Woven” by Ruba Alkhaldi and Lojain Rafaa.