The sight of two dolphins twisting playfully in the murky waters of the Mekong river elicits barely-stifled squeals of delight from a boatload of eco-tourists.
But a short distance upstream, river guard Pech Sokhan sighs as he holds up two large, tangled gill nets recently pulled from the river — evidence old habits die hard despite a ban on the practice that ensnares many dolphins.
“We have to keep educating people every day,” said Pech, one of 77 unarmed guards who patrol the Cambodian stretch of the Mekong river on the lookout for activities that could harm the dolphins.
Entanglement in gill nets — vertical mesh nets left in the water for long periods — is the main cause of death in adult Mekong dolphins, according to experts, who believe the grey mammals with distinctive blunt beaks are in imminent danger of extinction.
Estimates for the number of remaining adult Mekong river freshwater Irrawaddy dolphins range from 85 up to 180.
Although there are no comprehensive studies, the International Union for the Conservation of Nature classes the species as critically endangered.
The dwindling population faces numerous challenges including unexplained high rates of calf mortality, as well as disease, inbreeding and habitat loss.
But “gill nets are the biggest of these threats,” said WWF conservationist Gordon Congdon.
Freshwater Irrawaddy dolphins exist in only three river systems in Southeast Asia, with Cambodia hosting the largest population.
Community-based eco-tourism initiatives that allow poor villagers to generate revenue from the “smiling face of the Mekong,” mostly through boat tours and souvenir sales, are central to protection efforts.
And business is good. The region welcomed some 30,000 dolphin tourists this year, up from around 20,000 in 2011 and just 50 in 2000, said Touch Seang Tana, who heads a government commission to protect the species.
Kampi dolphin pool in eastern Cambodia’s Kratie province, where tourists can get up close with small groups of the mammals, is one of the success stories of government efforts to save the critically endangered creatures.
But not all locals can get in on the act, and despite plans to open two more dolphin viewing sites, many find that cheap and efficient gill nets remain the best way to put food on the table.
“It is unending until the poverty is gone,” Touch said about the battle against the dreaded nets, which ensnare dolphins as easily as they trap fish.
“People already know that gill nets kill dolphins. But they are thinking about their own stomachs.”
In what WWF hailed as “a huge step forward,” the government in August approved a dolphin protection zone in a 180-kilometer-long (110 miles) river stretch from Kratie to the border with Laos.
While fishing with small scoop nets, cast nets or hooks is still allowed in the safe zone, dolphin-unfriendly fishing methods such as gill nets and fish cages are banned.
Offenders are not arrested or fined, but their destructive fishing gear is confiscated — a heavy loss for poor families.
But despite these efforts, river guards confiscated some 8,000 meters of gill nets over just a few days in early December, Touch said, evidence the practice is still common.
Worse still, since the ban came into effect at least two adult dolphins have been found dead, ensnared in netting, he added.
The race is now on to educate the dozens of villages dotted along the Mekong about the new rules and offer incentives for traditional fishing communities to diversify their income and reduce reliance on fishing.
But the efforts have yet to reach fisherman Eam Mao, 55, who lives a few kilometers north of the popular Kampi dolphin pools and earns just over $ 2 a day from his catch.
“It’s much more difficult for us to make a living than for those who live nearer the dolphins,” he told AFP as he sat outside his modest home repairing a small cast net.
Still, river guard Pech is optimistic that the new rules can make a difference.
“Now when we confiscate the gill nets people dare not object because they know it’s illegal. Before, they would chase us with knives,” he recalled, laughing.
Cambodia battles to save rare Mekong dolphins
Cambodia battles to save rare Mekong dolphins
Highlights from Art Week Riyadh: Selected works by some of the Saudi artists participating in the inaugural edition
RIYADH: Selected works by some of the Saudi artists participating in the inaugural edition of Art Week Riyadh, which begins April 6.
Maha Malluh
‘X-Rayed 1’
The Najd-born artist is one of the most significant figures in the Kingdom’s contemporary scene. Several of her works will be on show at AWR. This one comes from her “X-Rayed” series, in which Malluh used images from an actual x-ray scanner of an actual passenger’s luggage, as would be seen at airport security when possessions are “being targeted and scrutinized,” the artist has written. “What makes these images even more peculiar is that the suitcases contain cassettes (labeled in Arabic) that are linked to dogmatic interpretations of Islamic practice,” she continued. “It is these ideas, when exported, which have led to several social evils, including the export of extreme thinking and rigid philosophy.” Like many of Malluh’s other series, “X-Rayed” examines “my own culture and its transformation from tradition to modernity.”
Lulwah Al-Homoud
From ‘The Language of Existence’
This work forms part of the influential Riyadh-born artist and calligrapher’s “The Language of Existence” series, in which she presented interpretations of the myriad Arabic names of Allah. According to her gallery, it “reimagines language as a universal visual system, transcending conventional meaning to create a new form of communication.” Al-Homoud created this ‘language’ by “deconstructing the letters of the Arabic language by using mathematical squares to compose new codes for each letter. With these codes, I inscribe the 99 names of God,” she has written. “The first step towards enlightenment is to search for the inner. It is this inner truth that leads to the light of knowledge. My art is concerned with the inner veracity of everything. It is a deep look at creation and its hidden rules that led me to the truth of existence…”
Ahmed Mater
‘Hulm’ (Dream)
In his 2011 work “Cowboy Code II,” Ahmed Mater used plastic gun powder caps glued onto a wooden board to spell out, in English, the various ‘rules’ he had imagined. In this more recent work, Mater uses the same technique to present the Arabic word hulm, which translates to ‘dream.’ Whether that’s an instruction, a comment on what visitors to Riyadh can experience, or an explanation of his inspiration for the piece is unclear, but it’s one of a number of similar works the 45-year-old Tabuk native — arguably the most influential Saudi contemporary artist — will be presenting at AWR (others include “Hurriya” (Freedom) and “Salam” (Peace)).
Manal AlDowayan
‘Totem 1 (Dearest Women)’
The prolific Dhahran-born artist represented the Kingdom at the Venice Biennale last year (with “Shifting Sands: A Battle Song) and, unsurprisingly, is participating in perhaps the most significant arts event yet to take place in the Kingdom. Among several of her works on display at AWR is this piece from 2018, which AlDowayan has described as “an attempt at creating a permanent memorial of a fragmented moment.”
She continued: “I look at the symbols used on the covers of books written by the religious men to address women and their bodies. I attempt to reform the symbols into new representations so that the invisible becomes visible.” The work is not, she stressed, “an attempt to critique or analyze history, but more of a totem of healing to help resolve the past in order to engage with the present, and time in general.”
Bashaer Hawsawi
‘Warm Space 1’
Much of the Jeddah-based visual artist’s practice revolves around found objects and mixed media, exploring, according to theartists.net “notions of cultural identity, cleansing, belonging and nostalgia.” Cleansing is the focus of this piece, which — like several other works by Hawsawi — uses the red-bristled broom heads familiar to anyone living in the Gulf and indicative of the remembered daily routines from which Hawsawi draws inspiration for much of her work. Cleansing also carries a spiritual symbolism — the purification of the self — that features regularly in Hawsawi’s work.
How Saudi Arabia’s peregrina oil is taking over the beauty world
DUBAI: A hidden gem of the desert is making waves on the global stage, and it’s coming straight from the heart of Saudi Arabia.
The AlUla Peregrina Trading Company is getting ready to showcase its peregrina active oil and extracts at in-cosmetics Global — a cosmetics ingredients trade show — in Amsterdam this month.
The story behind APTC’s signature ingredient is as rich as the desert itself. The peregrina tree, native to AlUla, is known for thriving in the harsh Arabian climate. It produces nutrient-rich seeds that have been prized for centuries, and now APTC is giving this ancient treasure a modern twist.
APTC’s chairman and CEO, Abobakar Alanazi, sees the tree as a symbol of resilience and beauty. “It’s a true gem of nature,” he told Arab News. “What makes it exceptional for skin and hair care is the unique composition of its oil and extracts packed with antioxidants, essential fatty acids and bioactive compounds that nourish, protect and rejuvenate skin.”
APTC’s virgin peregrina oil is “light yet deeply nourishing,” he added, “helping to hydrate the skin, improve elasticity, reduce fine lines and boost hair density.”
For Alanazi, the oil “exemplifies the essence of desert heritage and longevity in beauty, blending ancient wisdom with modern skincare innovation for a perfect balance.”
APTC works directly with 159 local farmers, ensuring that every bottle of peregrina oil is traceable from farm to skin. Alanazi also said that 90 percent of APTC’s employees are locals, with 70 percent being women.
“We take pride in establishing peregrina as an asset of AlUla and Saudi Arabia, focusing on the empowerment of local communities,” he said.
But breaking into the international beauty scene has not been easy. “One of our biggest challenges has been to position the desert of Arabia on the map of the global ingredients market,” Alanazi said.
But APTC has now secured partnerships with international brands, including an exclusive deal with Cartier for the launch of skincare products using winterized peregrina oil. These include three premium cosmetics products: pure oil for the face and hair, a face cream and aromatic oils.
Inside season two of ‘The Last of Us’: Newcomer Kaitlyn Dever on the return of the hugely successful video-game adaptation
- The HBO series will return for a second season on Apr. 14, streaming in the Middle East on OSN+
DUBAI: For Kaitlyn Dever, stepping into the role of Abby in season two of HBO’s acclaimed adaptation of the post-apocalyptic video-game franchise “The Last of Us” – returning for a second season to the Middle East on streaming platform OSN+ on Apr. 14 – was both a dream and a test.
“Stepping into a role like this… I knew it was going to be challenging, but I was so up for that challenge,” the 28-year-old US actress tells Arab News. “She’s a woman who has gone through so much, and I consider her to be very, very strong and brave. She is someone who has suffered and gone through grief. I wanted to make sure that I got that right.”
Abby is one of the most polarizing characters in the game’s universe — a complex and controversial figure who sparks a major emotional and physical shift in the story. Laura Bailey, who voiced Abby in the game, even received death threats. But Dever says she didn’t think twice about taking the role.
“I hope that people are able to separate the person from the game or the show. We’re not these characters — we’re playing them,” she says. “The backlash was never going to stop me from playing Abby. It was such a great opportunity for me as an actor. I really do want to make the fans proud with my portrayal of Abby, but what is most important to me is tackling her emotional journey so that her arc really shines.”
Dever says she also enjoyed the physical demands of the role — in the game Abby is a respected and feared fighter. “There was a lot of running, a lot of new stunts, a lot of wire work. That was a challenge because it was so new to me, but also very cool,” Dever says.
In fact, joining “The Last of Us” has been a deeply rewarding experience all round for Dever.
“It’s a really big deal to be a part of this show,” she says. “This franchise is so loved by so many people. I feel very fortunate to be a part of this group. The people that I get to work with and bond with are really something special. They’re truly such incredible artists all around and wonderful human beings.”
Dever’s connection to the world of “The Last of Us” runs deep. She played both the first and second games and was immediately hooked. “I was kind of obsessed with the narrative,” she says of the first game. “I had never played a game that had such good storytelling… It was so beautiful to look at.”
Playing the sequel with her dad made the experience even more personal. “That was what we really bonded over — just how beautiful it looked.”
But when Abby’s character took center stage in the second game, it was a moment Dever never forgot. “It’s a very drastic shift — really jarring,” she says. “Almost like Abby and Ellie (Bella Ramsey’s character and the games’ main protagonist) are mirrors of each other.”
She was also in the running to be cast in a mooted movie adaptation of “The Last of Us” almost a decade ago, she reveals. And while that version never materialized, she remained a fan, watching the TV version as soon as it premiered.
Neil Druckmann — studio head of the game’s developer Naughty Dog, who co-runs the show with Craig Mazin — is as effusive about Dever as she is about the rest of the cast and crew.
“Abby is a very complex character, as you’ll see throughout the season, and hopefully going forward. We felt fairly confident (Dever) could execute Abby extremely well, but it’s still like you’re taking some of it on faith. But the moment she stepped into the scene you didn’t see Kaitlyn anymore; you just saw Abby. It didn’t feel like a new actor or some junior actor coming in, it felt like a veteran acting with their peers,” he says.
“I feel like I have very big shoes to fill. I put a lot of pressure on myself to get this role right and to do the story justice,” says Dever. “But the nerves went away, especially when I got on set and I got to play the scenes out with the cast. It was a very cool thing to be a part of.”
‘Theater Tour’ initiative celebrates local culture across Saudi Arabia
- Award-winning play ‘Bahr’ debuts in Baha, with performances in Jubail, Dammam, Al-Ahsa to follow
- New project boosts local theater, community engagement and cultural awareness nationwide
RIYADH: Saudi Arabia’s Theater and Performing Arts Commission launched the “Theater Tour” initiative on Thursday to bring exceptional theatrical performances to cities, governorates and villages across the Kingdom.
The project aims to promote the cultural and performing arts scene while encouraging community engagement, the Saudi Press Agency reported.
The first phase begins with the play “Bahr” (Sea), running from April 3 to May 3, the SPA added.
The production will debut in Baha from April 3-5 at the Prince Sultan bin Abdulaziz Theater in the Cultural Center, before moving to Jubail from April 17-19 at the Royal Commission’s Conference Hall in Al-Fanateer.
It will then continue in Dammam from April 24-26 at the Imam Abdulrahman bin Faisal University Theater, and conclude in Al-Ahsa from May 1-3 at the Society for Culture and Arts’ Theater.
The project is part of the commission’s broader efforts to raise awareness of the theater and performing arts sector, while ensuring that cultural services are accessible in underserved areas and to marginalized communities, according to the SPA.
It also aims to support local theater groups, boost theatrical production and strengthen the cultural sector’s contribution to the national gross domestic product.
Additionally, the initiative fosters investment opportunities and serves as a platform for discovering and nurturing emerging talent, the SPA reported.
The play “Bahr,” written by Abdulrahman Al-Marikhi and directed by Sultan Al-Nawa, has received critical acclaim, winning several prestigious awards, including for best actor, best script, and best overall production at the inaugural Riyadh Theater Festival, as well as best musical effects and best director at the 19th Gulf Theater Festival.
Art Week Riyadh: A ‘constellation of events’ that ‘pushes the boundaries’
- Curatorial team discuss the aims and intentions behind inaugural edition of AWR
RIYADH: The inaugural Art Week Riyadh begins April 6 in the Kingdom’s capital. A non-commercial initiative, AWR builds on the city’s already thriving art community while inviting international artists and art lovers to join in.
Princess Adwaa bint Yazeed bin Abdullah, head of Art Week Riyadh, explained the event’s inspirations and goals in a statement, writing: “Art Week Riyadh is born from a belief in the power of art to inspire, challenge, and connect us. Riyadh has long been a city of growth, and through this platform we hope to contribute to its cultural future — one that is open, dynamic and deeply rooted in both heritage and innovation.”
Curator Vittoria Mataresse heads a team including associate curators Basma Harasani and Victoria Gandit-Lelandais and public program curator Shumon Basar who have worked tirelessly across multiple time zones over several months to bring the event to life.
“It was very important for us to be playful and not have the kind of rigid structure or format we’re used to seeing. Art Week Riyadh sits in between an exhibition and an art fair. It’s really a constellation of events,” Matarrese tells Arab News. “Unlike major art events that often impose universal themes and rely on globally established artists, we wanted to work within the frame of a regional art ecosystem, embracing the textures, the urgencies, the sensibilities of the Arabian Peninsula. We are trying to retrace something which is very specific and, in this way, we propose a critical departure (from the normal) format.”
The theme of AWR’s inaugural edition is “At the Edge” and the event brings together more than 45 galleries from the Kingdom, the wider Arab world, and beyond. There are three main sub-themes: “Everyday Life,” “Landscapes,” and “Motifs.”
JAX District in Diriyah will host three major exhibitions offering an expansive insight into Saudi Arabia’s cultural identity. A number of established Saudi artists whose studios are based in JAX will also be opening their doors to the public. Meanwhile, in central Riyadh, more than 15 galleries housed in the Al-Mousa Center will present exhibitions, and a wider program across the city will feature several talks and collaborations.
Gandit-Lelandais, who has worked in the region for more than two decades focusing on contemporary Arab art, tells Arab News: “Art Week Riyadh really is different, because the market and the ecosystem is different. I think it’s about making people stop implementing the European and American formats into different places because they don’t have to fit — the format can be adapted.”
The team have designed the event as “an umbrella for everyone to gather under,” Gandit-Lelandais says. “It is inclusive and it’s meant to be niche — it is for the public, and for the art enthusiasts and for the collectors.
“With Riyadh growing so fast, the kind of dialogues that we have built are so important to bring people here, but not with a Western look at how art should be,” she adds.
Harasani, the lone Saudi in the curatorial team, tells Arab News: “I’m really excited to link our local artists and our local scene (with the world). I think an educational foundation is super-exciting and super-necessary at this time for artists, art practitioners, young collectors and everyone that comes under that umbrella. We wanted to allow these generations of artists from Saudi Arabia to narrate themselves, beyond the usual framework.”
While none of the curators live in Riyadh, they all offer a nuanced and sensitive take on the capital.
“I’ve been working in Riyadh so much that it does feel like a second home,” Harasani says. “Riyadh is culturally different from Jeddah, where I’m from, and it was interesting to delve into the art scene. I thought it would be similar to the Hajazi scene, but it’s completely different. It was a massive learning experience for me to see that — given that we’re all from Saudi — there are so many different ways of working, ways of producing, ways of communicating.”
Riyadh’s rapid expansion, both physically and culturally, over the past decade contributes to the richness and diversity on show at AWR, the curators say.
“That’s the beauty of the Middle East, 10 years here is 100 years elsewhere,” Matarrese says. “I think what’s really smart about what Saudi is doing right now is they’ve learned from other people’s mistakes and they’re looking at how to navigate this in a better way.
“There’s one thing that is important in the DNA of what we are doing,” she continues. “Our visitors are not going to know what to expect. We really pushed the boundaries of what this could be showing; we are trying to deconstruct the conventional display models, to experiment with something else and re-articulate the dialogue between the different parts of the art world.”
For Harasani, the event is another marker of the artistic progress that has been made in the Kingdom in recent years.
“This did not exist when I was growing up,” she says. “The fact that we can see our dreams come to fruition now — and (see) bigger projects like Art Week Riyadh — I feel very lucky and privileged to be a part of that.”
