șÚÁÏÉçÇű

Saudi Heritage Commission reveals findings of research into ancient mustatil sites in Hail

Special Saudi Heritage Commission reveals findings of research into ancient mustatil sites in Hail
1 / 5
The Heritage Commission has revealed a number of discoveries related to long-term research into mustatils. (AN Photo/Jaafer Sadiq Alsaleh)
Special Saudi Heritage Commission reveals findings of research into ancient mustatil sites in Hail
2 / 5
The Heritage Commission has revealed a number of discoveries related to long-term research into mustatils. (AN Photo/Jaafer Sadiq Alsaleh)
Special Saudi Heritage Commission reveals findings of research into ancient mustatil sites in Hail
3 / 5
The Heritage Commission has revealed a number of discoveries related to long-term research into mustatils. (AN Photo/Jaafer Sadiq Alsaleh)
Special Saudi Heritage Commission reveals findings of research into ancient mustatil sites in Hail
4 / 5
The Heritage Commission has revealed a number of discoveries related to long-term research into mustatils. (AN Photo/Jaafer Sadiq Alsaleh)
Special Saudi Heritage Commission reveals findings of research into ancient mustatil sites in Hail
5 / 5
The Heritage Commission has revealed a number of discoveries related to long-term research into mustatils. (AN Photo/Jaafer Sadiq Alsaleh)
Short Url
Updated 19 September 2024

Saudi Heritage Commission reveals findings of research into ancient mustatil sites in Hail

Saudi Heritage Commission reveals findings of research into ancient mustatil sites in Hail
  • The aim of the research was to investigate and catalog the massive stone structures in northern șÚÁÏÉçÇű and the purposes for which they were built
  • The study is part of a larger Green Arabia project exploring the history of human expansion in the Arabian Peninsula during the Paleolithic period

RIYADH: The Saudi Heritage Commission has revealed a number of discoveries related to long-term research into ancient, monumental, rectangular, stone-walled structures in the Kingdom known as mustatils.

The study is part of a larger Green Arabia project exploring the history of human expansion in the Arabian Peninsula during the Paleolithic period.

“We have been working on this Green Arabia Project for about 15 years now, in full collaboration and partnership with our Saudi colleagues, especially from the Heritage Commission, Ministry of Culture, and King Saud University,” said Michael Petraglia, a professor and the director of the Australian Research Center for Human Evolution.

“We have been conducting consistent fieldwork in șÚÁÏÉçÇű, uncovering archaeological sites that date back as far as 500,000 years (through) to the historic present.”

The study of the mustatils involved rigorous spatial analysis of 169 structures in the southern and western margins of the Nefud Desert in Hail Province.

“One of the major findings of our project is that the environments of șÚÁÏÉçÇű have changed significantly over time,” Petraglia said.

“We know that the șÚÁÏÉçÇű we see today is arid, with vast deserts, but it wasn’t always that way. There were periods in the past when Arabia was much greener, which is why we call it the Green Arabia Project.”

During this historical period there was considerably more rainfall, as a result of which there was an abundance of lakes and rivers.

“Those lakes and rivers provided fresh water, supporting hunter-gatherer communities and attracting a diverse array of wildlife,” Petraglia said.

“In the past, we had a lush landscape of savannas and grasslands, inhabited by hunter-gatherers and various animal species. In fact, some of our older archaeological sites even contain remains of hippos and elephants. That’s how green it was back then.”

The aim of the research, the findings of which were published in the scientific journal Holocene, was to investigate and catalog the mustatils in northern șÚÁÏÉçÇű and explore the purposes for which they were built, and to shed light on the factors that influenced the development of Neolithic settlements in the northwestern Arabian Peninsula.

Researchers documented 169 mustatils, studying their shapes, sizes and locations, in an area covering 44,000 square kilometers, using satellite imaging and field visits that included excavation work.

The experts said the work has provided vital insights into the cultural beliefs, ideas, customs and traditions of the people who lived in the area during the Neolithic period, between 10,000 and 2000 B.C., including significant information about economic, social and religious aspects of their lives.

Their findings suggest the large structures, found on the outskirts of the Nefud Desert on hilltops at elevations of up to 950 meters above sea level, were built over a relatively short period of about 1,200 years, between 5400 and 4200 B.C.

The mustatils therefore offered expansive views of the surrounding landscape, suggesting that the choice of locations was deliberate, and in particular based on proximity to water sources and raw materials.

Excavations at the sites revealed animal remains, including the horns and bones of cattle, gazelle and goats, which are thought to have been offered as sacrifices to deities.

During an event on Wednesday to reveal the results of the research, the CEO of the Saudi Heritage Commission, Jasser Suleiman Al-Harbash, highlighted the role of archaeology in uncovering and understanding ancient societies, as well as advancements that have been made in this field under the Kingdom’s Vision 2030 plan for national development and diversification.

The research was carried out by the Saudi Heritage Commission in collaboration with local and international institutions including the Max Planck Institute for the Science of Human History, the University of Tubingen and the University of Cologne, all in Germany, King's College London, King Abdullah University of Science and Technology, King Saud University, Griffith University and the University of Queensland in Australia, the Smithsonian Institution in the US, and the University of Malta.


Joana Hadjithomas, Khalil Joreige on their latest exhibition ‘Remembering the Light’ 

Joana Hadjithomas, Khalil Joreige on their latest exhibition ‘Remembering the Light’ 
Updated 15 August 2025

Joana Hadjithomas, Khalil Joreige on their latest exhibition ‘Remembering the Light’ 

Joana Hadjithomas, Khalil Joreige on their latest exhibition ‘Remembering the Light’ 

DUBAI: “We’ve been working a lot on questioning the writing of history in Lebanon — and elsewhere; the construction of imaginaries and stories kept secret,” says Lebanese artist and filmmaker Joana Hadjithomas.

In “Remembering the Light,” their solo exhibition which runs at Beirut’s Sursock Museum until September 4, Hadjithomas and her husband and creative partner Khalil Joreige present a collection of works that gather their wide-ranging influences and interests. Not just hidden histories — such as those revealed in the video installation “Remember the Light,” from which the show takes its title and in which divers head into the depths of the sea of Lebanon’s coast, drifting down past tanks, ships, and artifacts from ancient civilizations — but the power and necessity of art in troubled times, the cyclical nature of time, regeneration from chaos, and much more. It is also, as the title suggests, a show filled with hope, even though the bulk of the works on display were created at a time when hope was in short supply in Lebanon.

Joana Hadjithomas and Khalil Joreige. (Supplied)

“But My Head Is Still Singing,” the sixth work in their series “I Stared At Beauty So Much” — one of three main bodies of work around which the exhibition is based — is a prime example. It’s an installation in which looped videos are projected onto two screens made from layers of broken and salvaged glass. Glass from the duo’s studio and apartment, both of which were devastated by the explosion in the Port of Beirut in 2020.

“We wanted to transform the glass into something,” says Hadjithomas. “After the blast, it was very difficult to produce art
 There was this question. ‘What for? How can art help with all this?’ And we thought about the figure of Orpheus (from Greek mythology), saddened by the loss of (his lover) Eurydice. He was dismembered by the maenads, but his head still kept singing. So, we brought together some friends, and we recited some verses from several poets (poetry and poets, she says later, can “counter chaos”) that refer to Orpheus. Even though our voices were exhausted, we were still singing, in a way. So you hear the voices and you can see some of the words on the screen.”

Collaboration such as this is key to the duo’s work (“We like to see through the eyes of others,” Hadjithomas says). Take the divers in “Remember the Light,” for example. That video, Joreige explains, is “about the feeling we have sometimes that our world is shrinking — losing some variation of color and the possibility of light, and we have to find it. The more you go down in water, the more the water will filter the light and you’ll lose the colors. But if you put a light here, all the color will reappear, and when you remove the light, the plankton remember the light and refract its luminescence.” It is, Hadjithomas adds, “a (reminder) to remember the light, even in times of despair.”

Message with(out) a code, 2022 Close-up, tapestries, different kind of yarn. (Supplied)

Collaboration is also central to their ongoing “Uncomformities” project, another of the show’s major bodies of work, and one which won the duo France’s most significant contemporary art prize in 2017. The works in the project — including “Palimpsests,” “Time Capsules,” “Message With(out) A Code,” and “Blow Up” — are based around their fascination with what lies hidden beneath our feet, particularly in three cities: Athens, Paris, and Beirut. The project was inspired by core samples taken by geologists and archeologists — which show the layers of stratification in the earth and can be “read” by experts.

“The fact that these things were taking us into really deep time was very interesting,” says Hadjithomas. “Archeologists talk about the way things are always changing and evolving. And at the moment like the one we are living, understanding that after disasters there’s always a regeneration is very important.”

“Most of the time, when you imagine sedimentation (in the earth), you think of a stratification that is linear,” Joreige says. “But what we discovered with archeology is that when you dig, what is old moves up, and what is new moves down 
 you are recycling, redoing, regenerating. You are using the traces of civilizations to build new ones.”

That’s apparent in “Time Capsules,” an installation that includes three large tubes of core samples taken from the area around the Sursock Museum, and which include traces of the tsunami that occurred following the Beirut Earthquake of 551 CE, killing tens of thousands.

“The undergrounds of cities help us understand the way histories are always cycles of construction and destruction and regeneration,” says Hadjithomas. “And this movement of deep time and history can help us when we are in situations (like today).”

“Unconformities” also includes “Message With(out) A Code,” a collection of tapestries based on large photographs the pair had collected of archeological traces from digs, woven in such a way that they appear three-dimensional, even though they are not.   

“We were fascinated by these samples,” says Hadjithomas. “We started taking pictures of them, but without really knowing what they were.”

“We weren’t really able to understand what we were seeing. Like, you think you’re looking at stone, but actually you’re looking at teeth. You always need the eyes of others,” Joreige says, once again highlighting the benefits of their collaborative process, in this case working with archeologists.

While it’s clear that the duo’s work would not be what it is without the input of others, perhaps the most significant factor in all of it is their own natural curiosity. When they come across an object that most of us would discard, their instinct is to ask instead: “Why is this here and what can we learn from it?” They might keep that object for years before they figure out how to turn it into art, but inevitably they do. And with “Remembering the Light,” they hope once again to spark that same curiosity in others.

“We are trying to reveal a certain complexity,” says Joreige. “Sometimes you can’t explain because there’s nothing to explain. There’s no easy answer. But (for visitors), we hope that an encounter will occur. We want to share this moment of experiencing something uncommon.”

“We take people with us on a journey to experience and to share knowledge, share emotions and research. For me, it’s not about understanding everything, but to have, like, an impression,” Hadjithomas adds. “You just have to feel something, then understand more if you want. There’s a lot of layers. And you can dig as much as you want.”


‘Platonic’ season 2 — bigger laughs and deeper truths about friendship

‘Platonic’ season 2 — bigger laughs and deeper truths about friendship
Updated 15 August 2025

‘Platonic’ season 2 — bigger laughs and deeper truths about friendship

‘Platonic’ season 2 — bigger laughs and deeper truths about friendship

DUBAI: Seth Rogen and Rose Byrne are back in “Platonic,” and the first three episodes of season two prove that their non-romantic chemistry remains the show’s not-so-secret weapon. The pair’s easy banter and instinctive comic timing once again anchor a series that takes the madcap energy of season one and parlays it into a more nuanced, heartfelt exploration of adult friendship.

The sophomore season of the Apple TV+ series opens with a major update in Will’s (Rogen) life — an engagement to a woman Sylvia (Byrne) doesn’t have a connection with. It’s an awkward adjustment for both, as their once effortless dynamic is suddenly subject to the gravitational pull of a third party. The early episodes mine this setup for all its comic potential — from misguided attempts at bonding to not-so-subtle turf wars over who knows Will best, and a bachelor party that goes sideways quick. The jokes are bigger, the hijinks just as outrageous, but there’s an added undercurrent of mature self-awareness that keeps the series from depending on laughs alone.

Byrne’s Sylvia continues to be one of TV’s most relatable depictions of mid-life contradictions. She’s a housewife and mother, but still clinging to the “cool girl” identity she once wore so easily. Her adventures with Will allow her to sidestep the mundanity of domestic life, even if they occasionally leave her with more to clean up — figuratively and literally. Byrne plays her with the perfect mix of warmth, femininity and clownery. 

Rogen, meanwhile, tempers his trademark goofiness with shades of vulnerability. Will’s excitement over his engagement is genuine, but so is his anxiety over how it might change the friendship that’s been his emotional constant. His scenes with Byrne shimmer with an authenticity that makes their friendship feel lived-in, not manufactured for the camera.

Through it all, “Platonic” remains breezy, smart and devilishly funny. Season two doesn’t just retread the antics of its debut run — it builds on them, delivering sharper humor and a richer look at what it means to keep a friendship alive as life pulls you in different directions. If these first episodes are any indication, Rogen and Byrne’s love story — platonic though it is — might just be one of the best on TV.


Recipes for success: Omar Basiony offers advice and a tasty sea bass recipe

Recipes for success: Omar Basiony offers advice and a tasty sea bass recipe
Updated 15 August 2025

Recipes for success: Omar Basiony offers advice and a tasty sea bass recipe

Recipes for success: Omar Basiony offers advice and a tasty sea bass recipe

DUBAI: For Omar Basiony, eating has always been more than just about meals, it has been a way to connect with culture, family and identity.   

“I’ve always loved cooking,” he tells Arab News. “I’ve been passionate about cooking from a very young age.”  

Born to Egyptian and Italian parents, Basiony’s culinary journey began when he was just 13. “My mom had sent me to spend the summer with my uncle in Padua, Italy, and he got me a job working in a restaurant,” he says. “I came back like, ‘OK, this is all I ever want to do with my life.’” 

BĂąoli Dubai. (Supplied)

Basiony grew up in Chicago, which he describes as “a city of neighborhoods drawn on very ethnic lines.” He adds: “It became this gateway for me to explore different cultures through food.” 

After honing his skills at renowned kitchens in the US, including a two-Michelin-starred restaurant in Chicago, he moved to Dubai in 2014 to help open La Serre. His current role as executive chef at BĂąoli Dubai reflects both his fine-dining background and the wide range of culinary influences he has encountered throughout his career. 

When you started out, what was the most common mistake you made? 

Probably not tasting the food enough. If there’s any takeaway in my kitchen that I try to instill over and over, it would be that.  

What’s your top tip for amateur chefs? 

Invest in your tools, because that way they’re going to last a while. And it makes cooking much more enjoyable if you have a decent knife, a decent pan, good scales. Sometimes recipes fail just because you haven’t either measured the ingredients properly or you’ve compromised on the vessel that you’re going to cook it in, or the oven you’re going to cook it in. 

BĂąoli Dubai. (Supplied)

What’s one ingredient that can instantly improve any dish? 

I think improving a dish isn’t so much about ingredients as it is about understanding the different roles they play, and how balance plays such a big role. So, say you’ve over-seasoned something, there’s a role that fat can play in diminishing the salt. That all goes a long way to improving the overall flavor and complexity of the way something tastes.  

When you go out to eat, do you find yourself critiquing the food?  

I just feel like I’m getting ripped off most of the time. Sometimes I get a plate and I’m, like, “Come on. I know how much money is in this plate.” So yeah, my major critique is: what are people putting on their plates? What are they charging us for? But I can forgive a lot if the food is good and it’s made with heart and soul, and you can feel that someone cares about what they’re doing. 

What’s your favorite cuisine to eat? 

Asian — something within the scope of either Japanese or Korean. I have an eight-year-old son, and there was a time when I was actually afraid to be alone with him, he was that attached to his mother. The first time we really began to build a bond as father and son was over dim sum. I’d pick him up from nursery and take him out for dumplings and noodles. Since then, I think I’ve essentially hardwired him to enjoy Asian cuisine. I picked him up from school the other day, and brought him to Baoli. I try to offer him pizza, and he says, “No, it’s OK. I can get pizza anywhere. I want the signatures from the restaurant. Don’t try and push the cheap stuff.” But yes, as a family, we’ve really developed a strong appreciation for Asian cuisine overall. 

What’s a customer request or behavior most annoys you? 

Sometimes we get people who will either pre-order or push for food to arrive at a certain time. And then, you know, you activate this whole apparatus to make sure that happens, which is an undertaking, and then they don’t respect the time. I’m not a punctual person in my personal life, but in my professional life I’m very punctual. 

What’s your favorite dish to cook? 

I love to work over fire and over charcoal. So anything that’s coming off of the restaurant’s wood burning grill is a lot of fun. That element of dynamism that comes with cooking over live fire is very enjoyable. And it’s very much a craft — being able to harness it and utilize it in different ways.  

What’s the most difficult dish for you to get right? 

A perfect omelet is something that takes quite a level of mastery.  

What are you like as a leader? 

When I was a head chef, I was much more of a disciplinarian; there was a lot more yelling and shouting. Now, with a strong management team in place, I want them to feel empowered to run and manage the space themselves. A kitchen can very quickly become a tense, chaotic environment if everyone’s shouting. That’s never the kind of space I want people to work in. There’s only room for one voice of authority in a kitchen and, over time, I’ve learned that you don’t have to shout to earn respect or to maintain discipline. I do believe in the importance of discipline and, yes, at times there needs to be accountability. No one wants to be told they’re underperforming, but it’s worse when that message comes from everyone around them. That doesn’t motivate; it discourages. So, while I believe in maintaining standards, I also think it’s important to create an environment that encourages people to improve rather than fear failure. 

Chef Omar’s sea bass Provençale  

Provençale sauce 

ÂŒ cup olive oil  

4 cloves of garlic, crushed 

50gm pitted nicoise olives, quartered 

1 tbsp capers 

500gm cherry tomatoes, quartered 

Sprig of thyme  

Sprig of fresh oregano 

œ cup semi dried tomatoes cut into chunks 

Salt to taste 

ČѱđłÙłóŽÇ»ć: &ČÔČúČő±è;

Combine the olive oil and garlic in a wide, flat-bottomed sautĂ© pan on low heat and cook gently until the garlic becomes golden and very fragrant. 

Add the olives and capers and continue to cook until aromatic. 

Raise the heat to medium and add the quartered cherry tomatoes and herbs. Cook the tomatoes until they begin to break down, releasing their juices and creating a silky sauce. 

Off the heat, add the semi-dried tomatoes and mix through the sauce. Adjust the seasoning as needed with salt. 

Allow to cool before using. 

When you’re ready to prepare the fish, start by preheating your oven to 200°C. You will need parchment paper and a baking tray large enough to fit the fillet or whole fish you will be baking. 

Lay a sheet of parchment paper out on the table—the paper should be large enough to enclose your fish like a well-sealed envelope. 

Drizzle a layer of oil on the paper and lay the fish on top. Season lightly with salt and add another drizzle of oil. Spread the prepared sauce evenly across the fish. 

Close the parchment paper, folding the edges to seal it tightly, ensuring steam will stay trapped inside your parcel. 

You may opt to also wrap the parchment in aluminium foil in case you are doubting your sealing skills. 

Bake for 20 minutes at 200°C or until cooked through. 

You can serve it directly to the table in the parchment paper, cutting the parcel open in front of your guests to many ooohs and aaahs, and a pleasant puff of steam and delicious cooking aromas. 

You can garnish with a pinch of fresh chopped herbs and a drizzle of olive oil. 


URX: The cultural movement amplifying underrated DJs in șÚÁÏÉçÇű

URX: The cultural movement amplifying underrated DJs in șÚÁÏÉçÇű
Updated 14 August 2025

URX: The cultural movement amplifying underrated DJs in șÚÁÏÉçÇű

URX: The cultural movement amplifying underrated DJs in șÚÁÏÉçÇű
  • Group is dedicated to promoting and supporting overlooked artists in Kingdom
  • URX works to develop its artists, offering mentorship, production support and publicity

Underrated X Community — URX — is a cultural movement that was born in șÚÁÏÉçÇű with a mission to redefine how the region sees electronic music and underground talent.

Founded in late 2023 in Riyadh, URX was established to spotlight the often-overlooked DJs, producers and visual artists in the Kingdom and wider region.

Founders DJ Frozen (Sohaib Al-Borno) and DJ Mazo (Mohannad Reziqat) envisioned a homegrown ecosystem that supports emerging artists through events, collaborations and mentorship.

“We aim to support local talents and bring underrated DJs and electronic musicians into the spotlight,” Al-Borno told Arab News. “There’s a wealth of creativity in șÚÁÏÉçÇű, but what’s missing is visibility and access. That’s where URX comes in.

“URX stands for Underrated X. The ‘X’ symbolizes the unknown, the future and the collaboration between disciplines,” Reziqat said.

The two founders have spent years embedded in the Kingdom’s evolving creative scene.

Their collaborative mindset is reflected in the spaces they use; from Riyadh’s The Warehouse and Merwas Studios to regional hotspots in Bahrain and Jordan, URX prefers to use what they see as authentic, immersive venues.

“We believe in opening doors,” Reziqat said. URX’s events are “about the story, the energy, and the people who show up. It’s about creating a space where talent meets opportunity.

“Every URX edition is a platform to experiment,” he said. “We work closely with filmmakers, designers and visual artists to elevate every event beyond music.

“We started with URX. The video they made for us, the attention to detail, the quality, the filming 
 that’s what helped us rise in the scene. I truly want to thank them,” said a Riyadh-based DJ who goes by the name Immortal.

Since its debut event in 2024, URX’s influence has grown steadily, supported by a loyal following of artists and music lovers.

They recently collaborated with PUBLIC restaurant in Riyadh, on July 27.

“The PUBLIC x URX night was electric,” Al-Borno said. “It was one of those rare moments where everything clicked — the crowd, the music, the space. It confirmed that there’s a real hunger for this kind of experience.”

URX also works to develop its artists, offering mentorship, production support and publicity.

“It’s about who has something to say and giving them the tools to say it,” Al-Borno said.

“We’re laying the foundation for the next decade of Saudi creativity,” Reziqat said. “And that means investing in artists early, guiding them, and celebrating their uniqueness.”

URX is part of a larger cultural awakening in the Kingdom, aligned with șÚÁÏÉçÇű’s Vision 2030, which promotes creative industries and youth empowerment.

But while policy is top-down, URX is proudly grassroots, born from a genuine passion for local culture and artistic freedom.

“We’re building what we want to see,” Al-Borno said.

“There’s power in being underestimated,” Reziqat said. “That’s the spirit of URX. We take what’s overlooked and make it unforgettable.”

As they prepare for future events, regional tours and international collaborations, URX remains committed to its mission — uplifting the underrated, creating unforgettable experiences and connecting șÚÁÏÉçÇű’s artistic energy with the world.


REVIEW: ‘Wednesday’ season 2 is too crowded for its own good

REVIEW: ‘Wednesday’ season 2 is too crowded for its own good
Updated 14 August 2025

REVIEW: ‘Wednesday’ season 2 is too crowded for its own good

REVIEW: ‘Wednesday’ season 2 is too crowded for its own good

DUBAI: Jenna Ortega once again knocks it out of the mausoleum in “Wednesday” season two, but the first four episodes suggest her scene-stealing brilliance will have to fight harder for attention this time around. The macabre Netflix hit returns with Ortega once again in razor-sharp form as the morbidly deadpan Wednesday Addams, but a crowded ensemble keeps her from shining the way she did in season one.

After saving Nevermore Academy last time out, Wednesday returns to the school as an unlikely hero. The spotlight is, understandably, a curse in her book, and Ortega leans into that discomfort with precision, delivering barbed quips and withering looks a mile a minute. But this time, she’s not the only one taking up valuable screen space.

Her younger brother Pugsley (now a Nevermore student too) arrives with his own chaotic subplots, including grisly pranks, dubious alliances, and a knack for attracting trouble. To make matters worse, Wednesday’s mother Morticia (Catherine Zeta-Jones, chewing every gothic inch of the scenery) takes up residence at the school, resulting in some frosty mother-daughter showdowns.

As if familial entanglements weren’t enough, a fresh murder-mystery unravels, this time involving a spate of killings carried out by murderous crows. It’s a case tailor-made for Wednesday, but some trouble with her powers means she’s not at 100 percent.

Wait, it doesn’t end there. Wednesday also has a new stalker on campus. And whoever they might be, they also control the murderous crows.

If all this weren’t enough, Wednesday also has a vision about her best friend Enid’s (Emma Myers) impending death, a vision she’s now fighting to prove wrong with everything she has.

All in all, the narrative feels more scattered than in the first season. The introduction of new side characters and expanded arcs for returning ones make the Nevermore halls feel crowded, occasionally slowing the pace. Ortega is still magnetic, but in episodes with multiple competing storylines, the show loses some of its bite.

However, if the latter half of the season narrows its focus, season two could yet match season one’s haunting charm.