Latest news with #AlUlaArtsFestival
Campaign ME
02-05-2025
- Entertainment
- Campaign ME
Cultural programming in Saudi Arabia through experiences
Since 2018, Saudi Arabia has been engaged in a profound and wide-ranging conversation with itself about its identity and place in the world. Culture has been and continues to be at the forefront of that conversation. Across art, music, sports, gaming, literature, heritage, crafts, museums and media there is a visceral energy. Having spent eight years in Saudi Arabia as Head of Events for Ithra, Aramco's Centre for World Culture in Dhahran, I got to witness firsthand the beginnings of the country's remarkable cultural resurgence. In common with many countries in the Gulf, the cultural landscape is defined by a top-down approach with significant subsidy and direction from the government about cultural and creative entities and cultural manifestations – including live events. Where Saudi perhaps differs is that with a large and young population that is majority Saudi there is also plenty of grass roots activity; indeed, there always has been, albeit not so obvious as it is now. Saudi nationals are not just importing ready-made culture but are taking cultural forms from elsewhere and adapting them to the specific Saudi context. Saudi manga is a prime example. It is visual art, music and film – historically, the most important forms in terms of reference material for marketers and advertisers – where Saudi is carving out its own identity and getting noticed across the world. 'Saudi Arabia is informing the global cultural ecosystem from its unique perspective.' Vision 2030 has enabled huge investment in cultural forms and intellectual property (IP) and it is paying off. Perceptions of the country are changing, driven in part by a culturally charged series of campaigns by Visit Saudi and promotion of major events such as Noor Riyadh, Al Ula Arts Festival and MDL Beast that have all grown to be internationally recognised and globally influential. Riyadh Expo 2030 and the FIFA World Cup in 2034 will only serve to stimulate further interest and engagement with a burgeoning cultural and creative sector. The Islamic Biennale in Jeddah is a prime example of how Saudi is informing the global cultural ecosystem from its unique perspective. The intersection of fine art and faith is as compelling and moving as any exhibition I have seen in recent years – not least because the work from an extraordinary range of global artists is imbued with meaning that transcends aesthetics or form. It is further evidence of a true cultural Renaissance. This renaissance – in the sense of a re-engagement and realignment of cultural values and forms combined with an extraordinary affinity with digital technology and a voracious appetite for content – has created a rich environment for those of us who work in the creative, cultural and communication sectors. It would be wrong to characterise the sense of new beginnings in Saudi Arabia as signifying a lack of cultural maturity or to see the Saudi market as simply some gold rush boom town. Filmmakers, for example, have been around for a very long time there and have honed their craft in sometimes difficult circumstances. Saudis are great communicators and very good storytellers with a nice line in ironic humour – take a look at the work of Telfaz 11 on Netflix. There is even a specific initiative QSAS, dedicated to immersive storytelling. As a result, Saudi nationals respond to good storytelling, especially work that has the ring of authenticity, and an attention to detail and sophistication; international agencies take note, coffee pots and camels will not win you work. Heritage plays its part, but it is a heritage that is complex and multifaceted with very distinctive regional differences – and like the Arabic language difficult and time consuming to fully comprehend and highly nuanced. Saudis are not only building a distinctive contemporary Saudi cultural identity but also taking time to communicate that to themselves and the wider world. The proliferation of conferences, summits and symposia on cultural subjects ranging from youth empowerment to digital wellness has been a new and developing capability for us at Jack Morton and has given us access to the cross currents of culture. In our other work – brand activations, launches and live events – there has not been one project, be it the inauguration of a new Saudi airline, the FIFA World Cup Host Nation announcement or adidas' retail activation in a major gaming tournament, that has not had a clear and specific cultural brief from the client. One cultural and societal shift has been the increasing role of women in the wider workforce and especially in the cultural and communication sectors across government entities and commercial operations. Bright, well educated, multilingual and culturally savvy women are running companies, museums, galleries, cultural initiatives marketing departments, festival and event teams and controlling significant spend across all aspects of experiential. They are expecting you to turn up with your A-game and an informed point of view, and expect to see Saudis and other women in key positions on the other side of the table. A recent PricewaterhouseCoopers (PwC) article aligning cultural heritage with business growth highlighted the enormous economic benefits that come from investment and promotion of culture and cited Morocco and Japan as countries that have followed similar strategies to Saudi Arabia with great effect. Saudi Arabia has 150 cultural facilities in the pipeline, representing $80bn by 2030, all focused on its objective to be a cultural hub, to diversify its economy and provide meaningful employment for its young, energetic workforce. For us, in the business of creating culturally relevant experiences, this is great news both as opportunity for growth but also for creative inspiration and some of the most interesting work you can find in the communications sector today. My own professional 'rebrand' from Executive Creative Director (ECD) to Executive Culture and Programming Director shows how seriously we at Jack Morton are taking this. By Stephen Powell, Executive Culture and Programming Director, Jack Morton UAE and KSA
Arab News
01-05-2025
- Business
- Arab News
French jewelry school hosts discussion on diamonds in Riyadh
RIYADH: The director of a French jewelry school praised Saudi designers and the Kingdom's growing creative scene after a recent event held in Riyadh. 'It is amazing to see how they take inspiration from their heritage, whether it's from architecture, traditional motifs or patrimony jewelry, and reflect this in their own designs,' Sophie Claudel, director of L'Ecole Middle East, School of Jewelry Arts, told Arab News. The event took place at the French ambassador's residence with a discussion about diamonds, art and science, led by Caroline Boneti and Laetitia Gilles-Guery, both lecturers and gemologists from L'Ecole School of Jewelry Arts, Paris. As a frequent visitor to the Kingdom, Claudel said she is always impressed with the creativity and passion of Saudi Arabia's jewelry designers, highlighting the way they embrace culture in their designs. 'It's also wonderful to see the incorporation of materials and stones taken from their past, such as pearls, lapis lazuli, coral, gold and of course diamonds. 'Jewelry plays a vital role across all cultures and a pivotal part across history, craftsmanship and true know-how. It really is a fascinating world once you start to learn about it.' She emphasized Saudi Arabia's growing artistic movement, an evolution that is a very important moment of history. 'It will for sure contribute more and more to global conversations around jewelry culture in the future,' she said. L'Ecole Middle East, School of Jewelry Arts, is supported by Van Cleef and Arpels, a French jewelry brand. The school organized courses last year during the AlUla Arts Festival, and this week's talk at the French ambassador's residence. Claudel said the school has plans to broaden its horizons in Jeddah, AlUla and Riyadh. 'We cannot wait to collaborate with Saudi cultural institutions to fuel the curiosity and passion for jewelry arts in the Kingdom. 'We were proud to host our first talk for L'Ecole Middle East, School of Jewelry Arts in Riyadh at the French ambassador's residence. 'This was a very symbolic moment for us as it demonstrates our long-standing friendship and the support of connecting dialogues between France, the home of our maison, and the Kingdom.'
Web Release
16-04-2025
- Business
- Web Release
Art Dubai to Launch 18th Edition Amid Surge in UAE Wealth
Art Dubai is set to return for its 18th edition next week, promising an invigorated showcase of contemporary art against the backdrop of Dubai's growing reputation as a cultural and financial hub. Running from April 16, with a VIP preview, at the Madinat Jumeirah, this year's fair will feature over 120 galleries, accompanied by a slate of new commissions, digital installations, and panel discussions — all aimed at exploring the interplay between culture and technology within today's art world. Since its founding in 2007, Art Dubai has positioned itself as far more than just a commercial fair. It has evolved into a creative incubator where regional voices meet global audiences, cementing its identity as a cultural bridge within the Middle East. This year's edition arrives at a moment when Dubai's art scene is experiencing newfound momentum, propelled by regional biennials and festivals that are putting the spotlight on Gulf art. Recent additions to the region's cultural calendar — including the Sharjah Biennial, which held its 16th edition in February, and Saudi Arabia's second Islamic Arts Biennale, launched this January — reflect the Middle East's ambitious vision to develop as an international arts destination. Events such as the AlUla Arts Festival and Art Week Riyadh further solidify Saudi Arabia and the UAE's standing as serious players in the global cultural landscape. This surge in cultural programming has not gone unnoticed by international galleries. Among this year's first-time exhibitors is New York-based Bortolami Gallery, whose participation signals growing Western interest in the region's market and creative networks. Senior director Evan Reiser described their presence at the fair as an 'exploratory mission' to better understand local collectors, meet artists, and assess future opportunities. 'We have to try to understand the market ahead of time and understand what people are looking for, meeting the obligation to our artists to introduce their work to new audiences,' Reiser noted. The gallery will present works by an impressive roster of artists including Daniel Buren, Robert Bordo, and Leda Catunda, providing visitors a diverse glimpse into contemporary art's global landscape. As Dubai's art fair matures, its local gallery scene is expanding in tandem. Sunny Rahbar, founder of The Third Line — one of the city's pioneering contemporary art galleries — notes the accelerating pace of growth. 'The art scene is booming,' Rahbar told ARTnews. 'So many galleries have opened in the last three or four years.' She attributes the post-pandemic surge to Dubai's swift reopening to tourism and its global reputation for resilience. Dubai's appeal has drawn not only Western collectors but also a wave of Arab expatriates, from Lebanon, Egypt, and Iran, who now see the UAE as both a cultural and economic home. Reflecting that sentiment, The Third Line will exhibit works by Amir H. Fallah, Hayv Kahraman, and Kamran Samimi at this year's fair — each representing contemporary voices from the Middle East and its diaspora. Art Dubai has become a symbol of the UAE's larger economic diversification strategy. Once heavily dependent on oil, the UAE's government has worked for more than a decade to reposition the Emirates as a cultural and business hub for the region. Landmark initiatives, such as the Saadiyat Island cultural district — home to the Louvre Abu Dhabi and the future Guggenheim Abu Dhabi — are testament to the country's commitment to investing in the arts. Non-oil sectors now account for nearly 75% of the UAE's GDP, with non-oil growth reaching 4.6% last year and projected to climb to 5% in 2025. Art Dubai, while modest in size compared to global fairs like Art Basel, continues to mirror this economic momentum and offers collectors, galleries, and artists an increasingly attractive gateway to the Middle Eastern art market. As Mohammed Hafiz, cofounder of Jeddah-based ATHR gallery, puts it: 'The art market in Dubai, like the economy, is growing — it's maturing. You can't compare the UAE or Saudi Arabia to New York, of course, but, like anywhere in the art world, you travel to meet people and build relationships, and these relationships grow with time.' This growth isn't confined to art alone. The rise in high-net-worth individuals (HNWIs) is reshaping Dubai's luxury ecosystem. A report by New World Wealth and Henley & Partners predicted a 39% surge in the number of HNWIs in the UAE between 2021 and 2026, from 160,000 to more than 228,000. Dubai itself has seen the number of millionaires double over the past decade, with forecasts suggesting this figure will double again by 2035. 'This is already impacting favorably on the luxury market in the region and will only stand to benefit Art Dubai and the galleries here in Dubai, which is very much the center of the Gulf and regional art market,' said Ben Floyd, CEO of Art Dubai Group. To further strengthen its international profile, Art Dubai recently announced two significant leadership hires. Dunja Gottweis, formerly Art Basel's global head of gallery relations, was appointed as the new fair director, while Alexie Glass-Kantor, previously executive director of Artspace in Sydney, has stepped into the newly created role of executive director, curatorial. These appointments are already generating increased attention from collectors, partners, and galleries eager to enter the region's art market. Much like Hong Kong's transformation into a gateway for global art and commerce, Dubai's blend of free trade zones, world-class security, and British-style legal frameworks continues to attract international talent and investment. Art Dubai, as both a cultural and commercial platform, is poised to evolve into a vital meeting ground for the international art world and a key barometer for the Gulf's flourishing creative economy.
Arab News
27-02-2025
- Entertainment
- Arab News
Saudi contemporary artist Manal AlDowayan discusses collaborative performance piece
RIYADH: Saudi contemporary artist Manal AlDowayan unveiled her latest work, 'Thikra: Night of Remembering' at the AlUla Arts Festival in late January. For the latest updates, follow us on Instagram @ The site-specific dance piece, designed by AlDowayan in collaboration with renowned English dancer and choreographer Akram Khan — who is of Bangladeshi descent — and residents and artisans from AlUla, was one of the festival's main highlights. It will now go on to be adapted for various theaters around the world. AlDowayan told Arab News: 'The fact that it's a fictional story, not tied to a specific time or civilization — it could be none or all at once — makes it something people can easily connect with. There's a mix of cultures, stories, symbols, and rhythms. Of course, the AlUla landscape had a big influence, along with the collaboration with local musicians, dance elements, crafts, and symbols, but there are also essential elements from other cultures around the world, especially traditional Indian dance reimagined through Akram's performance, and sound elements from various cultures and even from nature.' Over the past few years, AlDowayan has gravitated towards exploring the idea of 'othering' in her practice. As she has become more well-known internationally, she says, she's looking to open up conversations to bridge cultures. And she is no stranger to responding to AlUla's landscape in her work: she's showcased in the historic city as part of Desert X with her artwork 'Now You See Me, Now You Don't,' and staged a show titled 'Their Love is Like All Loves, Their Death is Like All Deaths,' and a participatory exhibition titled 'Oasis of Stories: Manal AlDowayan and the People of AlUla' with over 1,000 community participants for Wadi AlFann. 'Thikra' was inspired by, among other things, AlDowayan's memories of gathering around a campfire under the starlit sky to tell stories. The performance took place on a circular stage between cliffs. 'The audience sits around on traditional Sadu weaving carpets, occupying one half of the circle, while the community occupies the other. In the center, the dancers perform a story about ancestral knowledge,' AlDowayan said. The dance pays homage to the long line of civilizations that have inhabited the land around AlUla over centuries, as evidenced by the symbols engraved on rock formations and its varied architecture. 'I incorporated some of these symbols into the costumes and props to represent the overlapping of different timeframes and the coexistence of rituals and traditions,' AlDowayan explained. She based the color pallet of the fabric on the tones of the surrounding landscape and culture; the sandy beige, the red-brown of henna, the pink rocks, night black, and the green of small plants that 'emerge between the sand, almost as an act of resistance,' she said. AlDowayan worked with the Madrasat Addeera School of Arts and Crafts to produce local, natural pigments for the fabric, adding to her longstanding tradition of collaborating with local artisans. The collaboration with Madrasat Addeera had two main aspects: design and fabrication. In a participatory workshop with the students, she presented her vision for the visual direction, portrayals of different characters, and her incorporation of local symbology and storytelling in the project. She was also keen to represent the community directly on stage through their designs. She said: 'I encouraged them to work with these symbols — ones deeply present in their daily lives and crafts — and together we brainstormed the designs. Their input and self-representation was an essential aspect to me. 'They created more than 50 flag designs, incorporating traditional techniques such as palm weaving, Sadu, embroidery, and clay. The results were incredibly creative and beautiful. I selected a set of designs and slightly reworked them to fit the overall vision.' Her studio then commissioned the school to make the flags. 'Many of the school's studios and senior crafters worked together to bring them to life,' AlDowayan said. 'I am honored to bring to the global stage not only local stories, but also their own traditional crafts.' Members of the community then paraded these flags as part of the performance. AlDowayan described working with Khan as a 'gift,' saying: 'I have followed and admired his work for a long time. So when I received the invitation to collaborate with him, I was thrilled — but I also wondered how open the creative process would be. 'From our first research visit to AlUla, the creative connection between us was instant. We immediately understood each other's vision and actively collaborated on all aspects of the performance with openness and trust, I think because we both admire each other's work.' Forty local participants of all ages volunteered via open call to work with Khan's legacy team Jumana Al-Refai and Bilal Allaf, who led community movement workshops. They eventually became part of the performance. The narrative of the show is 'based on the idea that without a past, there is no future. It's a call for remembrance, told through the story of a community of women and how they preserve and pass down ancestral knowledge,' AlDowayan said. 'This is something I first realized during my early visits to AlUla. My education ignored the ancient civilizations of this region, and when these historical sites were finally opened to the public, I was suddenly exposed to all this knowledge through the architecture and rock inscriptions. It was incredibly inspiring to learn that we have deep roots and to discover the traditions, symbols, and way of life of those who came before us.'
Zawya
20-02-2025
- Entertainment
- Zawya
AlUla Arts Festival 2025 wraps up with a vibrant closing weekend
ALULA — As the fourth edition of the AlUla Arts Festival reaches its grand finale, visitors are invited to experience an extraordinary closing weekend filled with world-class exhibitions, interactive workshops, film screenings, and cultural engagements. Since its launch, the festival has attracted over 40,000 visitors, cementing its reputation as a premier global platform for artistic and cultural exchange. While the festival officially concludes on February 22, select exhibitions, including Wadi AlFann presents James Turrell, will remain open until April, offering extended hours during Ramadan to allow visitors further opportunities to explore the transformative power of art in AlUla's breathtaking landscape. The closing weekend promises a rich and immersive program, welcoming guests to engage with diverse artistic expressions across multiple disciplines. The AlUla Artist Residency Open Studio at Mabiti Hotel will provide a unique insight into the creative processes of international artists, showcasing their explorations in photography, installation, performance, and material studies. Visitors can also explore Raw to Revival at Design Space AlUla, an exhibition aligned with Saudi Arabia's Year of Handicrafts initiative, which highlights the influence of traditional craftsmanship on contemporary design. Music and cinema lovers will find an array of engaging experiences, with Cinema AlJadidah hosting curated screenings, including Nosferatu, Gonjiam Haunted Asylum, and Born a King, offering audiences a mix of classic and contemporary storytelling. Meanwhile, the AlUla Music Hub Vocational Students Showcase Concert will celebrate emerging talent, providing a stage for young artists to share their creativity. Beyond the festival's closing events, several acclaimed exhibitions will continue to captivate audiences until April. Wadi AlFann presents James Turrell offers a retrospective on the pioneering Light and Space artist, connecting his legacy with his ambitious land art commission in AlUla. Maha Malluh: Reminiscence presents a compelling exploration of memory and representation through contemporary art, while Tarek Atoui: Bayt Al Hams (The Whispering House) invites visitors into an interactive sound experience, encouraging participation and experimentation. Additional exhibitions, such as Raw to Revival, Alamaat, and Thikra: Night of Remembering, further enrich AlUla's artistic landscape. Thikra, a site-specific performance created by renowned choreographer Akram Khan and artist Manal AlDowayan, will embark on a world tour in 2025, showcasing AlUla's cultural narrative to international audiences. © Copyright 2022 The Saudi Gazette. All Rights Reserved. Provided by SyndiGate Media Inc. (
