Latest news with #Nabatean
New York Times
02-04-2025
- New York Times
A Remote Spot in Saudi Arabia That Won't Be Remote for Long
Many travelers are driven by a desperate desire to reach the last great undiscovered place before the rest of the tourist hordes. In 2025, though, that elusive location is becoming something of a mirage. That is particularly apparent in Saudi Arabia, which opened itself to tourism nearly six years ago (before, only Muslims, traveling for religious reasons, had been allowed to enter). Things now are changing so fast in the desert kingdom that there has been a Dubai-esque feeling to its warp-speed transformation. My online visa application was approved in less than three hours. I almost thought it was a hoax. Nowhere is this 'get there before it's ruined' feeling more urgent than in Al-Ula, a vast desert landscape of towering sandstone and granite rock formations in the northwest of the country that is, for now, barely untouched by time. The wind- and human-sculpted tombs chiseled into these mountains were the southernmost reaches of the Nabatean empire, which famously built Petra, some 550 kilometers, or about 340 miles, to the north, in Jordan. But Petra now offers a glimpse of what Al-Ula will no doubt become in the next 10 to 20 years: dozens, if not hundreds, of hotels; donkey rides to overcrowded ruins; and tourists vying for the perfect Instagram shot. That is, of course, if Saudi Arabia's efforts to modify its global public image are successful. Its human rights violations, religious extremism and history of oppressing women already keep many travelers from even considering a visit. And alcohol still is banned, although there have been whispers that restriction is being reconsidered in light of the country's role as host of the 2034 World Cup and as part of Saudi Vision 2030, the country's ambitious project to diversify its economy. Much of the rest of the kingdom has been moving forward, regardless. Riyadh, the country's capital, and Jeddah, its major port, are both bustling modern cities, and women are now allowed to drive and travel freely around the country without a male escort, which was unthinkable even a decade ago. While the Red Sea coastline outside Jeddah is virtually undeveloped for more than 1,100 miles, a resort area known as the Red Sea Project has several new five-star resorts, including the Nujuma Ritz-Carlton with its over-the-water podlike villas. The Red Sea Airport, built in 2023, serves this area (Al-Ula has its own airport), as well as resorts farther inland, including the utterly isolated and pricey Six Senses Southern Dunes, with its mirage-like views of the rolling desert as it blends into the Red Sea about 45 minutes away. And the Desert Rock resort has villas with pools built into the sides of giant rock formations with views across seemingly endless valleys. Many of these resorts are not exactly packing in tourists yet, but they clearly are ready. For now, however, Al-Ula might as well be on Mars. It's far less developed than anything I have seen in the most remote parts of the Middle East, including the rugged mountainous villages of Oman, which now offer five-star resorts and hiking tours. The region is 22,550 square kilometers, or 8,700 square miles, though most of the 111 tombs are packed into an area of about six square kilometers. Here, there are glamping sites under glittering stars at night, and morning treks to the massive tombs where only a dozen or so other visitors may have gathered. Travel Weekly magazine recently described the rock formations: 'A gigantic elephant glows enchantingly at dusk, a guitar takes shape in the narrow crevice between two mountain peaks, a bowling pin juts over a sandstone outcrop.' The area has had a bit of a spooky reputation, though. Many Muslims consider it to be cursed since the Thamud people of the region, who flourished there from as early as the eighth century B.C., were later denounced by the Prophet Muhammad as 'wrongdoers.' The fact that Muslims have avoided the area for centuries, many local tour guides say, is exactly why it is so well preserved and seemingly trapped in time. The Nabateans were a nomadic Arab tribe that flourished for centuries before being conquered by the Romans in the second century A.D. — and the nearby region, called Hegra, is where they carved huge tombs into the sides of enormous rocks. One of the most famous is the so-called Lonely Castle, or Qasr al-Farid, a meticulously sculpted facade of four columns that is a dramatic entrance to a 72-foot-high boulder. Coming to the site offers a glimpse of what visiting Egypt might have felt like when the Western world was first learning about the buried treasures of an ancient kingdom. While Al-Ula offers a glimpse into a mysterious past, it already is focusing on the future. It has become an arts destination, with several galleries and public art spaces. A massive public art project of site-specific art and open-air sculptures is being created, scheduled to open sometime after 2027. It coincides with many celebrity architect-designed resorts in the works, including Sharaan by the French architect Jean Nouvel, which is being built into the side of a mountain. The current offerings of glamping — let's just call them luxury hotels with a tentlike appearance and swimming pools that cozy up to the giant rocks around them — include the Banyan Tree and Our Habitas. I stayed two nights at Our Habitas, which also offers what it calls a more 'rustic' experience in luxuriously appointed Airstream travel trailers that are parked even farther into the sprawling valleys for that true sense of getting away from your fellow tourists. All of these glamping sites are nestled among the boulders and the thin, dry air that seems to hold the silence naturally. An early morning 'run' to the rock formations, which is standard before the heat of the day sets in (temperatures from May to October can reach 40 Celsius, or 104 degrees Fahrenheit), sort of reclaims that old safari term. Morning runs in Africa have morphed into traffic jams of all-terrain vehicles trying to get close to a lion or giraffe. Here, there is a sense of being a charter member of the Al-Ula Tourism Club. No tacky trinket shops, no groups of tourists flocking to get photos. Just a stillness among the Nabatean tombs as the morning light turns the beige rocks ever-shifting shades of orange. And there is nothing more refreshing than tomblike silence when discovering what could be the last great unexplored tourist spot just waiting to be developed.
Arab News
30-03-2025
- Business
- Arab News
Saudi Arabia's domestic tourism thrives as Eid travel peaks
RIYADH: Saudi Arabia's domestic tourism sector is experiencing a sharp rise in travel during Eid Al-Fitr, injecting fresh momentum into the hospitality industry. A growing preference for local destinations is reshaping the market as residents seek immersive experiences within the nation's tourism landscape. The Kingdom saw a 45 percent rise in domestic flight bookings in 2024, driven by expanding tourism offerings and greater connectivity through low-cost carriers, according to Almosafer's latest travel trend report released in January. Domestic travel has surged in recent years, with Eid Al-Fitr becoming a peak period for local tourism, said Nicolas Mayer, PwC Middle East partner and global tourism industry lead. He noted that domestic flight bookings rose 45 percent year-on-year in 2024, highlighting a growing preference for local exploration. 'There are a few key reasons behind this shift. First, the Kingdom has made huge strides in improving its tourism offerings. With more affordable flight options due to low-cost carriers, travel has become a lot more accessible,' Mayer said. The report showed a 39 percent increase in domestic room night bookings, while combined local flight and hotel reservations accounted for over 40 percent of the travel market, up 11 percent year-on-year. The surge in domestic travel is fueled by a broader range of destinations, accommodations, and experiences attracting leisure visitors. Family and group travel have been major drivers, with bookings in these segments soaring over 70 percent. Saudi Arabia's mega-projects, including NEOM, a futuristic city on the Red Sea, and The Red Sea Project, which focuses on luxury and eco-tourism, further fuel domestic tourism growth. Cultural landmarks like AlUla, known for its ancient Nabatean heritage, and Diriyah, the birthplace of the Saudi state, are undergoing significant restoration to offer visitors rich historical and cultural experiences. 'Eid Al-Fitr is a special time for families and culture, and it encourages travel and experiencing something new. There are so many great options for people to celebrate within the Kingdom — it's a great opportunity to discover Saudi Arabia's rich culture and hidden gems right here at home,' he added. Mayer pointed to Saudi Arabia's massive investment in tourism infrastructure under Vision 2030, which is making it easier for residents to explore new destinations. The Kingdom's Minister of Tourism Ahmed Al-Khateeb recently said that the nation's tourism accommodation is expected to double over the next decade. The country currently has around 400,000 guest rooms, projected to reach 800,000 by 2030. Al-Khateeb reiterated Saudi Arabia's goal of becoming one of the world's top seven tourism destinations by the end of the decade. At King Abdullah University of Science and Technology, officials have observed a significant rise in family and group bookings, which have grown over 70 percent across key traveler segments. Nour El-Shikh, media and public relations specialist in global branding and communications at KAUST, said travel groups are gravitating toward destinations that offer distinctive events and experiences. 'While major cities like Makkah, Riyadh, and Jeddah remain popular, emerging spots like Abha, Al Jubail, Jizan, Tabuk, and Hail are drawing increased attention for their unique landscapes and activities,' El-Shikh said. AlUla, a UNESCO-listed site, has also gained traction as a premier domestic and international destination, a sign of Saudi Arabia's continued investment in diversifying its tourism appeal. 'This has fostered a renewed appreciation for the Kingdom's rich cultural heritage and natural beauty. The combination of improved infrastructure, increased accessibility, and a growing emphasis on family-oriented activities has made exploring local destinations more appealing than ever,' El-Shikh added. The Haramain Train, which connects Madinah, Jeddah, and Makkah, is another example of how Saudi Arabia is reducing car traffic and improving access to Islam's two holiest cities, she added. Hotels, resorts adapt to demand With the surge in domestic travelers, Saudi Arabia's hospitality sector is evolving to cater to changing preferences. Mayer pointed out that hotels and resorts are focusing on personalized experiences rather than simply increasing room capacity. 'Take Eid, for example. It's a time when families want to be together, enjoy traditions, and make memories. Operators are catching on to that and offering packages and programs that feel more meaningful — whether it's culturally inspired dining, kids' activities, or even small touches that reflect the spirit of the holiday,' he said. The demand for alternative accommodations is also growing, with vacation rentals, villas, and hotel apartments gaining popularity, particularly among families. Meanwhile, digital innovation is playing a critical role in enhancing the travel experience. 'If the booking process isn't smooth or the service isn't responsive, people notice. Tech isn't a nice-to-have anymore — it's expected,' Mayer added. El-Shikh echoed this sentiment, emphasizing that many establishments are expanding and renovating to accommodate larger groups. 'They are also introducing special Eid packages with family activities, cultural events, and traditional culinary experiences,' she said. Mobile apps, virtual tours, and seamless payment methods such as Apple Pay and buy now, pay later options are also shaping consumer behavior. Sustainability and eco-friendly practices are becoming a priority, aligning with modern travelers' values. Future of domestic tourism Saudi Arabia's domestic tourism market is set for further transformation, driven by technology and evolving consumer expectations. Mayer expects a rising demand for personalized, culturally immersive, and seamless experiences. 'On the business side, I'm seeing a lot of energy going into creating more curated, tech-enabled journeys. Travelers expect smooth bookings, helpful digital tools, and recommendations that feel relevant. It's no longer about just having a website or an app — it's about using tech to anticipate what people want before they even ask,' he said. The expansion of tourism beyond the well-known urban centers is also unlocking new opportunities. 'More regions across the Kingdom are starting to offer these kinds of experiences. We're moving beyond the well-known cities, and that's opening up a whole new set of opportunities for domestic tourism,' Mayer added. El-Shikh highlighted a growing trend toward experiential travel, where visitors seek immersive cultural experiences. 'Stakeholders are developing unique offerings that highlight the Kingdom's diverse heritage and natural landscapes,' she said. New infrastructure fuels demand The Kingdom's infrastructure expansion is proving to be a game-changer for domestic tourism. Mayer noted that investments in roads, airports, and public transport are making once-remote destinations more accessible. 'It's not just about building new airports or roads — it's about opening new areas of the country that people might not have explored before,' he said. Businesses are capitalizing on this momentum by designing experiences tied to local culture. 'Around Eid especially, we see more businesses take advantage of that momentum. They're creating experiences that feel connected to a place — whether it's a cultural festival, a family-friendly activity, or a beautifully restored heritage site that tells a local story. These touchpoints resonate with travelers because it's not just leisure — it's personal,' Mayer explained. El-Shikh added that in-destination activities such as guided tours, adventure sports, and cultural experiences are central to travel, enhancing engagement with local communities. 'By collaborating with local artisans, cultural institutions, and heritage sites, tourism businesses are creating unique experiences that resonate with residents and encourage them to appreciate their own cultural heritage,' she said. As Saudi Arabia continues to develop its tourism sector, a rising emphasis on domestic travel is expected to fuel sustained growth, further embedding Eid Al-Fitr as a cornerstone of the Kingdom's evolving travel landscape.
Jordan Times
25-03-2025
- General
- Jordan Times
Nabataean influence revealed in excavations at Mughur Sabik, Mudayna Thamad
The aerial view of the Iron Age and Nabataean site of Khirbet Al Mudayna (Photo courtesy of Khirbet Al Mudayna Project) AMMAN — Mughur Sabik and Mudayna Thamad are located in the close proximity, just a few kilometres from each other. Both are surrounded by farmland, reservoirs, water installations and architectural structures with building blocks tooled in the Nabataean style. These two large settlements along with smaller sites in the region attest to a strong Nabatean presence in this rich agricultural region, said Maria-Louise Sidoroff, an independent scholar. Sidoroff added that analysis of painted fine ware from each site finds the greater percentage similar to decor phase 3b to indicate settlement phases in the second half of the 1st century AD. Pottery from Mudayna Thamad came from the Nabataean settlement and composed of a reservoir and villa. "There were two phases of occupation in the plastered reservoir. In the first phase the reservoir walls were deeply footed below the level of the floor. Superimposed layers of flat-topped boulders and cobble stones packed with mortar/cement were laid as the foundation for the floor." "The floor itself and the walls were coated with four to five layers of fine plaster," noted Sidoroff, adding that the second phase of occupation suggests reuse of the structure as a domestic or storage facility. The ten piers built on top of the plastered floor supported stone arches and created separate rooms. Eight seasons of excavations revealed that the villa was composed of two adjoining structures built in one stratum with two phases close in time. 'First a thick-walled two room sector was constructed and, a short time later using the similar construction techniques, a many roomed sector was built to completely enclose a central courtyard. The greatest number and variety of vessel types were excavated in the area around the doorway to the first structure,' Sidoroff said. "This doorway had a cut stone frame, which consisted of a pair of vertical doorjambs and a locking mechanism for the door. A stairway of eleven steps was immediately to the right of the entrance leading to a second and possibly a third floor." "One would pass through this entry area into a high status room with a finely dressed stone floor and three massive stone arches," the scholar explained. While all the pottery in villa was broken and widely scattered, due in part to the late, Ottoman period burials which were intrusive in the overlying debris, both diagnostic and non diagnostic sherds were kept for possible restoration. Work continues on the ceramic corpus stored in two locations with permission of the Jordanian Department of Antiquities. Pottery 'Most of the pottery studied from Mudayna Thamad came from the two excavated structures. Within the reservoir, in the area of an oven in the northeast corner, unpainted and painted fine ware were excavated,' Sidoroff continued. The scholar added that within the villa complex, the Nabataean pottery consisted of common ware, such as jugs, jars, bottles, bowls and well-fired thin walled cooking pots with exterior ribbing. Also present were Nabataean unpainted bowls and painted fine ware. "In a selection of diagnostic sherds from the villa representing 447 vessels, 60 per cent were small bowls with 39 per cent unpainted and 21 per cent painted. Other vessels include 9 per cent bottles, 8 per cent jars, 7 per cent storage jars and 1.7 per cent cooking pots," Sidoroff elaborated. Most bowls uncovered in the reservoir and villa were manufactured in the technological style of the well documented Nabataean bowls. 'Generally, the unpainted bowls are slightly smaller with thicker walls. Painted bowls have around base, while unpainted bowls have a ring base. The unpainted bowls are present at sites in greater numbers than the painted bowls, which were more laborious to produce,' noted Sidoroff. The scholar added that at Mudyna Thamad a few of the details on some unpainted bowls suggest they were manufactured by potters who had not perfected the technological style. "For example, some bowl interiors were unsmoothed, others had a roughly trimmed ring base, a few presented brushed reddish-brown bands on the interior, and dull fired colours, indicating low firing temperatures especially when compared to the red colours of Petra bowls," Sidoroff underscored.
Jordan News
23-03-2025
- Jordan News
The Historic "Barq'a" Palace: A Hidden Gem in the Northern Badia Desert - Jordan News
The historic "Barq'a" Islamic palace stands as a distinctive landmark on the shoulder of a water dam that carries the same name, located in the Al-Ruwaishid District of Mafraq Governorate. It is one of the Islamic archaeological palaces built from the black basalt stones found in the region. اضافة اعلان Mafraq Director of Antiquities, Emad Obaidat, explained that the selection of the palace's location indicates a strategic choice of sensitive areas to ensure security and maintain the stability of the caliphate. Before parts of it collapsed, the palace consisted of three different floors, with another adjacent residence equipped with stone and pottery channels to provide both cold and hot water. Obaidat noted that the palace's name, "Barq'a," comes from the fact that Caliph Al-Walid ibn Abd al-Malik was fond of hunting and using trained Arabian falcons to hunt rabbits and gazelles. The term "Barq'a" refers to the covering placed over a falcon's eyes before it is released to hunt its prey. He further clarified that the palace contains two inscriptions, one of which confirms that its reconstruction occurred during the reign of Al-Walid ibn Abd al-Malik. The palace is rectangular in shape, surrounded by a series of small rectangular rooms on the northern and southern sides. Obaidat added that the palace was constructed in three phases, including the Nabatean, Byzantine, and early Umayyad periods. It features three towers and three small rooms. To the south of the palace, there is a water reservoir connected to a channel that brings water from a nearby dam. He pointed out that the distance of the palace from the capital Amman and the city of Mafraq limits the accessibility for tourists. However, the Department of Antiquities is working on several projects to rebuild and restore the site. The palace has been mentioned in numerous studies, including writings by the British traveler Gertrude Bell in 1913, and a study published by the University of Edinburgh in 1988. (Petra)
Arab News
13-03-2025
- Entertainment
- Arab News
How Saudi creatives are adopting AI to shift the boundaries of contemporary art
RIYADH: Artificial intelligence is reshaping creative industries in Saudi Arabia where artists are blending tradition and technology, integrating personal archives and cultural memories into a dynamic, human-machine collaboration. One standout example is Daniah Al-Saleh, whose work was featured at Noor Riyadh 2022, the world's largest annual light art festival. Known for merging AI with cultural memory, Al-Saleh exemplifies the fusion of innovation and heritage. Her artistic journey began with geometric watercolors, but pursuing a master's degree in computational art deepened her engagement with programming. This evolution culminated in her 2019 installation, 'Sawtam,' which won the Ithra Art Prize and marked a pivotal moment in her career. 'I broke down the spoken word into the tiniest form of communication, which was the phoneme,' Al-Saleh told Arab News. 'I brought in my knowledge of coding and programming, inspired by (Manfred) Mohr, this computer artist… and recorded my voice saying these abstract sounds.' The result was a soundscape where Arabic phonemes merged into a wall of noise that, when deconstructed, revealed the fundamental elements of the region's spoken language. 'It was a big turning point in my art career,' she said. While studying at Goldsmiths, University of London, Al-Saleh was introduced to machine learning and used pattern recognition program StyleGAN to create several notable works. One such piece, 'Love Stories,' features multiple figures lip-syncing to 26 well-known Arabic love songs. The work examines cultural resistance to public displays of love and affection in conservative societies. Another, 'Evanesce,' blurs the line between memory and reality, evoking nostalgia for Egyptian cinema's golden era through AI-generated videos. Meanwhile, 'Rewind Play Glitch' presents a curated mosaic of seemingly personal imagery, exploring themes of familial bonds, love and the passage of time. Despite her use of machine learning, Al-Saleh does not rely solely on AI. She blends digital techniques with traditional media to create a distinctive style. This fusion is evident in her 2022 piece, 'Hinat,' which combines photographic transfer, painting, video and algorithmic generation to honor a female Nabatean historical figure. The installation, currently featured in the 'Art of the Kingdom' exhibition at the Saudi Arabian Museum of Contemporary Art, highlights her ability to bridge ancient narratives with modern technology. To create the piece, Al-Saleh hired several women and filmed across various locations in Saudi Arabia's historic AlUla region, home to some of the Kingdom's most striking Nabatean ruins. Like any technology, AI tools inevitably become outdated. Al-Saleh initially used StyleGAN for some of her work, but the program is no longer available. 'As an artist, I need to adapt and see within what context can I use that, is it a good fit, or should I use something else? Or maybe not use AI at all?' she said. • AI is not limited to visual art — it is also used to compose music, write poetry and even design sculptures. • AI art generators such as DALL-E 2 and MidJourney use advanced algorithms to create unique visual masterpieces. • AI integration with virtual reality offers immersive, interactive experiences in AI-generated environments. Artists incorporating AI into their creative practices benefit from the support of curators who bridge the gap between art and technology. Qatar-based curatorial duo Auronda Scalera and Alfredo Cramerotti have worked with numerous artists to integrate emerging technologies into contemporary art. Most recently, they curated the 2024 Noor Riyadh Festival which highlighted innovative light-based artworks. Scalera explained that some artists she and Cramerotti work with 'create their own AI with their archive — for example, they don't use ChatGPT.' 'When you create your tool, it's like you create your brush,' she told Arab News. Al-Saleh is one such artist who prefers to use her own archive. 'I don't use ready-made data sets — I collect what I can from open-source content,' she said. 'For example, for my work Evanesce, there are a lot of available movies online in black and white, which I watched — tens and tens of these movies — and collected the data I wanted and then worked with that.' She added: 'Regarding 'Love Stories,' that was a bit challenging because I had to collect data sets of males and females with Gulf and Arab features that were public. I can't go into private profiles and take those photos. '(It depends on) the type of AI you're using, on how much control you want to get involved with, or do you want to give agency to the machine learning or AI program, or how much agency you want to take.' In addition to their work at Noor Riyadh, Scalera and Cramerotti were curators and jury members for the 13th anniversary of the Lumen Prize X Sotheby's in 2024, which featured cutting-edge digital artworks from leading artists. They also curated Art Dubai Digital 2024, a section dedicated to exploring the intersection of digital art and technology. The duo leads Multiplicity-Art in Digital, an online platform promoting art with a focus on diversity and inclusion, and spearheads Web to Verse, a project dedicated to researching the evolution of digital art from the 1950s to today. Cramerotti said artists tend to approach technology differently from designers, focusing not on function but on critically unpacking, subverting and reimagining its use in creative contexts. 'Unlike designers, let's say, that use the technology for a certain purpose, artists don't have a purpose in terms of a function,' he told Arab News. 'They're really good at unpacking the technology, critically analyzing the technology, subverting the use of technology, using that technology for another purpose.' Each moment in history brings new technologies to explore, as with photography in the 19th century and computer art in recent decades. The art lies in the ideas and techniques behind using these tools, not the tools themselves. 'It's not just about using ChatGPT to come up with a text or using Sora to come up with an image,' Cramerotti said. 'It's about asking, 'Okay, what are the critical elements that I input to create that text or the image? How do I link and contextualize my approach as an artist beside my work as an artist in using this technology?'' As AI evolves daily, it challenges the world — and artists — to harness its advancing tools in new ways. 'Even (for) us as curators, it's a learning process,' Scalera said. 'Curators today, we are like students.' Expanding on this, Cramerotti added: 'We are the interface between (art and) the public — and as art practice, art making, art displaying is changing, then our work is changing. 'You always have to frame a certain artistic practice in a new way and to present to a public using a new vocabulary.' Another challenge lies in bridging contemporary and digital art spheres through curatorial innovation. 'With the 2021 digital art boom, you have a lot of digital curators who have no idea how a museum works, or how an institution works, or how to write an exhibition mediation plan or an exhibition installation plan,' Cramerotti said. 'And then, you have a lot of museum curators who have no idea how an NFT works, or how an immersive experience impacts the senses of a viewer.' He emphasized that emerging technologies introduce scientific complexities beyond the traditional scope of art history, requiring curators to adapt and expand their expertise. Scalera explained that this was why they decided to form a curatorial duo. 'This curiosity about the unknown is something that is really important for curators, because otherwise you are going to be stuck in only one theory,' she said. 'In that way, you can be curious, and you can work closely with the artist and discover different landscapes in art and new technology.' The latest Noor Riyadh edition, curated by Cramerotti and Effat Fadag with curatorial advisors including Scalera, explored the theme 'Light Years Apart.' The festival highlighted numerous AI-generative artworks, such as Krista Kim's 'Heart Space,' which transformed collected heartbeats into visual symphonies, and Random International's 'Alone Together,' which used a custom tracking system to spotlight selected passersby. While AI-generated images are now accessible to the masses, ethical concerns remain regarding the references fed into these systems. Last month, more than 5,600 artists signed an open letter urging Christie's New York to cancel its first AI-generated art auction, criticizing AI models for allegedly using copyrighted works without permission. Scalera noted ongoing efforts to address these ethical challenges. 'It's an open discourse now,' she said.
