Culture and Art
constitution..
"Who's paying for dinner today?" they replied in unison: "At Abu Mabrouka's." His eyes sparkle whenever her name is mentioned, his heart flutters at the sound of the maidservant's voice
"Who's paying for dinner today?" they replied in unison: "At Captain Abu Mabrouka's." His eyes sparkled whenever her name was mentioned. His heart fluttered at the sound of the slave girl's fluttering and gurgling in the harbor, as still as the night, as still as the shouting and the fleeting ends. He said: "Roll up the sail... and turn the ship so that it doesn't get pecked by birds or damaged by unfavorable winds." What if they told you, Oweidan, that a flatbed truck would take you to the ICU and that your feet would be free to roam? The captain said: "Touch my heart, but don't touch my ship." Sahala challenged him: "And what do I get if I win?" The wave replied, "You have a nerve to pick up, but you'll come back." The wave comforted them and swore it saw the masts cutting through its waves as in days gone by, with their planks and nails, destined to cross the quiet old town and hang the lamps of hope for participating in the grand competition, which had been suspended for over fifteen years, or so they counted. The young men hung the stumbles of time on the fiberglass tails: "The world doesn't stop, my friend... and we are sailors, sons of sailors." "We'll see, and whoever doesn't know what's going on will find it," one of them recited, captivated by the sight, "And the ships sailing with ease." And whoever is optimistic finds good, not just finds it, but finds it. Here is ease coming to them after hardship, with the arrival of the Red Sea International Company to the region with an initiative to restore the sailing vessels, decades of rust, corrosion, and decay. The plan was drawn up, and the craftsmen decided to follow tradition: submerging the boats in the sea for seven to ten days to test the parts. The soft, slug-shaped boat was moved from the port of Umluj to the workshops to begin the work of renewing the structures, after assessing the damage and replacing the wood and strengthening it with protective insulating materials. The interior furnishing and exterior painting are subject to a final procedure to examine the previous stages by returning it to the water for no less than five days. After its displacement, it receives cotton sailcloths, ballast, and safety equipment. In addition to overwhelming joy at fulfilling the conditions, the captain called out to his companions who insisted on participating in the competition themselves despite the passing of the young age, trusting in their experience and their friend the sea: “Say ‘In the name of God’ and tie up the ropes.” He turned to the wave and shouted, “Constitution, O western coast!”.
What the land owes to the people of the coasts is exactly equal to what the contributions of the National Commission for Education, Science and Culture have provided and continue to provide in terms of documentation and coordination with relevant cultural heritage bodies and (UNESCO). It takes the form of restoring the craft and preparing a generation of young craftsmen and reassuring them that the future passes through here as well. The news carries within it prosperity, tourism and lovers of the azure color boarding taxi boats between islands inhabited by picturesque coral reefs below and pure beauty above. In appreciation of the rich maritime heritage and thirteen traditional boats that have been restored, tested, and equipped with the latest equipment and tools for safe sailing - the number of the first batch and the result of the ambitious partnership between the Red Sea International Company and the governmental, private, and local non-governmental organizations - Umluj, which lies peacefully on the shores of the Red Sea and belongs to the Tabuk Governorate, celebrated its captains, beaches, masts, and the boats that won the first three places: Mabrouka, Awidan, and Sahala, after the initiative restored hopes and revived a market full of local crafts and industries on the sidelines of the sailing races. It also contributed directly with the sailors from the people of the region to restore sources of livelihood and traditional means of transportation, as the boats in the sea are not satisfied with fishing or a destination, and on the dock they are not satisfied with living and waiting for loved ones.
Culture and Art
The book "I am wheat and I am millet": Jazan's heritage in a cognitive text
A reading of Abdulrahman Mokli’s book “I am wheat and I am millet”, which transforms the popular dish “Marsa” into a deep anthropological entry point for understanding the memory and heritage of the Jazan cultural region.
In his new book, "I Am Wheat and I Am Millet," published by Arouqa Publishing House, author Abdulrahman Moukly presents a unique literary work that transcends the boundaries of traditional narrative. Moukly begins with a simple and familiar element of Jazan's culture—the popular dish "Marsa"—and embarks on a profound intellectual and aesthetic journey, transforming rural cuisine into an anthropological laboratory through which he explores memory, identity, and the human history of the place.
The Jazan region, located in southwestern Saudi Arabia, is known for its rich cultural and historical heritage and its unique geographical diversity. This rich heritage is clearly evident in its oral traditions, its ancient souks like the Tuesday market in Sabya, and its cuisine, which reflects the relationship between people and the land. In this context, "Al-Marsa" is not merely a dish made of flour, bananas, and ghee; it is a symbol of generosity and community, a ritual of daily life that holds the stories of mothers and grandmothers, and embodies an economy of both abundance and scarcity. From this perspective, Mokli delves into this world to offer a cultural interpretation that transcends mere taste and explores deeper meaning.
The author's narrative relies on the perspective of the "witnessing self," evoking the memories of a child observing with caution and longing the events unfolding in the kitchen. Through this child's eyes, we see more than just food preparation; we sense the aroma of the oven mingled with the woman's breath, feel the subtle anxiety of want, and anticipate the joy of those returning from the market. The book's title, borrowed from a popular saying, "I am wheat and I am millet," encapsulates this vision. The phrase signifies not only readiness but also a declaration of an identity rooted in the land and its produce, how a person defines themselves through their sustenance, and how grains of wheat and millet become cultural symbols of fertility and belonging.
The book represents a practical and profound response to modern intellectual calls to break free from the "rhetorical prison" of literature and connect it to the humanities, specifically anthropology. As the Iraqi thinker Khaz'al al-Majidi pointed out, literature needs a revolution to return it to its lived human essence. Muqli wholeheartedly embraces this vision, abandoning linguistic embellishments in favor of a dense and richly symbolic prose. Small details, such as the dough for sorghum, bunches of bananas, and the names of valleys and villages, are transformed in his text into cultural documents that reveal an entire society's worldview, making literature a field of knowledge capable of interpreting everyday life.
"I Am Wheat and I Am Millet" is a new and important installment in Mokli's cultural project to document and write about Jazan's heritage from a profound intellectual perspective. Following his previous works that explored religious, mystical, and historical aspects, he now delves into the heart of daily life, emphasizing that knowledge is not confined to grand texts but also resides in food traditions, markets, and proverbs. In doing so, the book presents a genuine portrait of Jazan, far removed from stereotypes, revealing its spirit as manifested in its simplest details and affirming that folklore is not merely decorative but a living, breathing text of knowledge worthy of reading and interpretation.
Ultimately, "I Am Wheat and I Am Millet" transcends being merely an autobiography or a documentation of local folklore, becoming an intellectual exploration that questions the very nature of literature. It is a text that establishes a new relationship between literature and anthropology, demonstrating how the kitchen and the aroma of bread can serve as gateways to understanding the deeper layers of human consciousness and collective imagination, thus presenting a work worthy of the depth and authenticity of Jazan's culture.
Culture and Art
Cultural investment and the geography of literature in Saudi Arabia | Vision 2030
Discover how cultural investment is driving a literary renaissance in Saudi Arabia, and the role of Vision 2030 in supporting creators and drawing a new creative map that enhances the Kingdom’s global presence.
The cultural landscape in Saudi Arabia is undergoing a radical transformation, driven by a strategic concept known as “cultural investment.” Culture is no longer viewed as a mere intellectual pursuit, but has become a fundamental pillar of national development and a promising economic engine. This investment rests on two complementary axes: first, investing in the human and creative potential of society to enhance its cultural growth and intellectual achievements; and second, building a sustainable economic model that incentivizes the continuity of cultural work through meaningful returns, thus ensuring the consolidation of knowledge-based growth, which has become a measure of a nation’s progress and its aspirations for a pioneering future.
General context: Vision 2030 and the new cultural landscape
This growing interest in cultural investment comes within a broader context: the Kingdom’s Vision 2030, which aims to diversify income sources and build a vibrant society. Since the Vision’s launch, the cultural sector has witnessed a qualitative leap, marked by the establishment of the Ministry of Culture in 2018. This ministry has since spawned 11 specialized bodies covering various creative sectors, including the Literature, Publishing, and Translation Commission. These institutional steps were not merely administrative changes; they heralded a new era, placing culture and the arts at the heart of the national project and providing systematic support for creators and intellectuals throughout the Kingdom.
The Geography of Literature: A Renewed Creative Map
At the heart of this movement, the concept of “literary geography” emerges as one of the most important manifestations of cultural growth. Literary creativity is no longer confined to major cities; rather, we are witnessing a wider distribution of talent across the Kingdom’s various regions and provinces. A new generation of writers, poets, novelists, playwrights, and critics is emerging, producing innovative works that reflect the diversity and richness of Saudi culture. These young creators do not represent only themselves; they play a vital role in representing their nation at local and international events, presenting the world with a bright image of the intellectual and creative dynamism within the Kingdom, and winning prestigious awards in major Arab and international competitions.
Importance and expected impact
The impact of this investment extends far beyond local borders. Domestically, it contributes to strengthening national identity, creating jobs in the creative economy, and empowering youth. Regionally and internationally, it enhances the Kingdom's soft power, presenting it as a leading cultural hub in the region and attracting cultural tourism. Major events such as the Riyadh International Book Fair, the Janadriyah Festival, and art biennials have become global platforms showcasing Saudi cultural products and opening avenues for dialogue with world cultures.
Towards sustainable cultural integration
To ensure the continuation of this momentum, a sustainable relationship between the commercial investment sector and the cultural sector is essential. A symbiotic system must be created that supports creators, provides them with a stimulating environment, and simultaneously unlocks promising investment opportunities. The model offered by the General Entertainment Authority in transforming events into successful economic products can serve as an example for the cultural sector. By building strong institutions and effective governance, this creative endeavor can be organized and propelled towards global recognition, while continuously discovering young talent that will raise the bar and solidify the Kingdom's position as a key player on the global cultural map.
Culture and Art
Naming streets after literary figures in Saudi Arabia: Honors and challenges
A discussion about the initiative to name streets after intellectuals and writers in Saudi Arabia, between its cultural importance, official selection criteria, and its impact on national identity.
The naming of a main street in Al-Ahsa Governorate after the critic Dr. Saad Al-Bazai has sparked a wide-ranging cultural debate about the mechanisms and criteria governing the honoring of intellectual and literary figures in Saudi Arabia. This initiative, which has been widely welcomed, has reignited a long-standing debate: Should the selection of names be based on the intellectual's merit and influence, or should it remain subject to the regulations and controls set by municipalities and local authorities?
Historical background and national context
The practice of naming streets and squares after prominent figures is a global tradition aimed at preserving national memory and connecting generations to their history. In the Kingdom, this practice has historically focused on the names of kings, leaders, prominent historical and religious figures, or classic public names. However, recent years have witnessed a notable shift towards honoring contemporary cultural, artistic, and literary figures—a trend that aligns with the goals of Saudi Vision 2030, which places culture and national identity at the heart of its priorities and seeks to celebrate the creative individuals who have contributed to shaping societal awareness.
The importance of the initiative and its expected impact
The significance of these initiatives transcends mere symbolic tribute; they carry profound cultural and social dimensions. Locally, these namings foster a sense of belonging and pride among city dwellers, connecting them to their recent cultural history. Critic Dr. Mohammed Al-Dabisi views this act as “a conscious cultural practice closely linked to identity and memory,” functioning as a “silent educational tool” that evokes the lives and contributions of these prominent figures in the minds of passersby, thus enriching the cultural heritage of new generations and imbuing public spaces with a distinctive character.
Intellectuals' opinions: between appreciation and demands for clarity
Intellectuals agree that this initiative represents “the ultimate prize,” as described by historian Mohammed Rabie Al-Ghamdi, who recounted his personal experience with the street named after the poet Mutlaq Al-Dhiyabi in Jeddah, considering it a lasting honor that surpasses the value of any material award. Dr. Ahmed Al-Humaid affirms that naming a street after a literary figure during their lifetime is a source of pride, and after their death, it is an honor for their family and a recognition of their legacy. For his part, Dr. Saad Al-Rifai suggests developing this initiative by adding a QR code to street signs that leads to the individual's biography, thus transforming it into a tool for enriching knowledge.
However, intellectuals are calling for clear and transparent selection criteria. Dr. Al-Dubaisi criticizes what he describes as the “fluidity” of criteria in some areas, advocating for the adoption of scientific principles based on the actual impact of the individual in the fields of education, thought, and journalism, to avoid favoritism or arbitrary selections. Writer Ali Magawi agrees, arguing that commemorating influential figures should be an “official responsibility” to ensure the selection of the most suitable positions and the most deserving individuals.
Official vision: Specific procedures and controls
In contrast, official sources emphasize that the process is subject to strict controls. The municipalities of Madinah, Asir, and Al-Ahsa clarified that street naming is carried out according to instructions and standards approved by the Ministry of Municipal and Rural Affairs and Housing. The Secretary of Al-Ahsa Governorate, Engineer Essam Al-Mulla, indicated that the process begins with nominations from specialized entities, then proceeds through a dedicated committee, which selects the most suitable street before final approval is obtained from the regional or provincial authorities. This regulatory framework aims to ensure that the selections are well-considered and meet specific criteria, such as the importance and significance of the street, while also taking into account initiatives to honor certain groups, such as martyrs of duty or writers and intellectuals.
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