Universal Music Group (UMG) announced on Tuesday that it has expanded its global network operating in over 60 countries to include two new offices in the MENA region, becoming the first major music label to establish offices in Morocco and Israel.
UMG is the world’s leading music company and is home to some of the largest and most famous labels and brands in the world. Included in UMG’s repertoire are Abbey Road Studios, Capital Music Group, and EMI.
Artists represented by UMG include The Rolling Stones, Kanye West, Queen, Nicki Minaj, Arianna Grande, Nirvana, and Bon Jovi. The depth of experience, marketing opportunities, and networks that the UMG brand will share with local artists could be transformative for the music scenes in Morocco and Israel.
UMG in Morocco
The company’s Moroccan office is based in Casablanca and will work to ensure that North African artists have exposure to the global market. The office will also develop creative and commercial partnerships and work with Universal Music France (UMF) on key projects.
UMF already represents a number of French-language artists from the region, including Algerian rapper Soolking and Moroccan rapper Issam.
Announcing the new offices UMG’s MENA region CEO Patrick Boulos said, “within Morocco and their immediate neighbors, there is a wealth of untapped artist talent and we are excited to introduce these unique sounds to global audiences, platforms and partners.”
UMG has identified traditional Arabic music and rap music front the Maghreb as core focus areas for the new office.
UMG in Israel
In Israel, UMG will be based in Tel Aviv. Incoming UMG Israel CEO Yokam Mokady has big plans for the new office, outlining that “UMG will look to identify, sign and develop the best domestic artist talent.”
Both offices will work closely with UMG’s regional headquarters in Dubai.
Following the success of the first MDL Beast music festival in December 2019, organizers announced on Monday that the 2020 edition will be an online event. Scheduled to coincide with World Music Day on June 20, the event, named Freqways, will feature an impressive international lineup.
Confirmed performers include Steve Aoki, Afrojack, Maceo Plex, Claptone, Danny Tenaglia, Deep Dish, Sasha, Butch, Art Department, Laidback Luke, Delano Smith, Gui Boratto, Phil Weeks, Benny Benassi, and Dirty South.
Regional artists including Led & Majid, Vinyl Mode, and SPCEBOI are also scheduled to perform. The multi-stage digital event will see virtual festival goers board online “flights” to locations around the world including Riyadh, Ibiza, and Las Vegas where they will be able to party to the pre-recorded sets.
Last year, over 400,000 people participated in the three-day event which pushed Saudi Arabia’s ambition to host large-scale cultural events onto the global stage. Impossible to imagine in the conservative kingdom a few years ago, the event signified an awakening for the EDM community in Saudi Arabia.
“Influencer-washing” Saudi Arabia’s image
The inaugural MDL Beast in 2019 was not without controversy. Many criticized the influencers and celebrities who were paid to attend the festival for failing to comment on the country’s abysmal human rights record.
Among those who attended and posted extensively about the event on social media were models Irina Shayk, Winni Harlow, and Alessandra Ambrosio, actors Armie Hammer and Ed Westick, and social media personalities Sofia Richie and Negin Mirasheli.
Whilst details of the stars’s compensation for their attendance were not made public, some of them are known to command six- or seven-figure sums for a single Instagram post. Among those to call out the celebrities was the Instagram account Diet Prada (@diet_prada), which regularly highlights problematic issues within the fashion industry, and model Emily Ratajkowski.
Ratajkowski claimed she turned down the invitation to attend, issuing a statement in which she voiced her solidarity for the LGBTQ+ community and the rights of women stating, “I hope coming forward on this brings more attention to the injustices happening there.”
Commentators on social media called out many of the stars who attended the festival for posting “government propaganda” aimed at rehabilitating Saudi Arabia’s image. Issues raised by commentators included the murder or Washington Post journalist Jamal Khashogi in October 2018.
Claims of mass sexual assault
In addition to the condemnation of the influencers who attended the festival, many women claimed on social media they were sexually assaulted at the festival.
Using the hashtag #saudimenharassing in English and Arabic, women detailed their experiences at the festival. One woman described how she was surrounded by men who tore off her shirt and groped her. Others expressed concern that even young girls were victims of harassment, as were those who went with males in an attempt to avoid such problems.
Conservative social media users were unsympathetic to the women’s claims, suggesting that sexual harassment was to be expected when attending a festival such as MDL Beast.
Libyan digital artist Razan Al Naas (@razangryffindor) weaves the country’s culture and history into digital collages that provoke thought and awe. A large part of that history in recent times has been the instability and conflict that has ravaged the country since the overthrow of longtime dictator Muammar Qaddafi in 2011.
The increase in fighting since April 2019 upended Tripoli resident Al Naas’ life with her family moving away from their home to escape the constant bombings. The arrival of coronavirus has further interrupted life in the city, closing universities and schools to contain its spread.
The turmoil of life in Libya is a constant feature of the art produced by many contemporary Libyan artists. Earlier this year, Al Naas repurposed Michaelangelo’s hand of God to show two hands reaching out under a large bottle of hand sanitizer. In the background is Tripoli’s Bab Al Madina.
The image evokes feelings of hope and hopelessness with the hands ever so close to touching, as in the original, and the hand sanitizer a stark reminder of both the challenges of COVID-19 and the impossibility for many to hold their loved ones at this time.
For Al Naas coronavirus and the associated restrictions to daily life in Libya cannot be disentangled from the war, with the artist telling Arab News in April “In Tripoli, you can’t spell quarantine without war.”
Other works by Al Naas, the majority of which are published on her Instagram, feature dilapidated buildings and faceless soldiers as she continues to document her experiences as a young person living through war.
Keeping Libya’s art scene alive
Artists, writers, photographers and poets play a vital role in curating cultural and collective memories of the human experience. The importance of this contribution in Libya was highlighted in a 2017 art show hosted by the WaraQ Art Foundation in the capital.
At the time, the country’s art scene was beginning to recover after years of conflict, with the exhibition drawing large crowds throughout its five night run. The scars of war were visible throughout the work featured with themes such as the trauma of Islamic State’s barbarism and the impact of the war on children prominent among the art on show.
Al Naas was among the artists to exhibit in 2017. Her contribution included the piece “Kidnapped and yet to return.” Drawing on her family’s personal trauma the piece references the kidnapping of her grandfather. The elderly man was held for over a month until the family was able to pay his ransom.
Al Naas wants the piece to serve as a warning to others, saying “I wanted to share this feeling with everyone. The fact that you could wake up one day to find one of your closest people is kidnapped.”
Earlier this year, the Tajarrod Art and Architecture Foundation held a three day open air exhibition in Benghazi. Visitors walked among red pillars viewing art produced by young people produced on the exhibitions thematic of building meaning out of destruction.
Whilst COVID-19 has curtailed plans for more exhibitions in the short term and the ongoing conflict makes long term planning difficult, the enthusiasm surrounding art across Libya is an encouraging sign for the industry’s future.
Seeking to address the lack of localization in video games and capitalize on the growth of gaming in the MENA, Sandsoft has announced it will begin producing games tailor-made for the region’s players. The company plans to start with mobile games, a very popular playing format in the MENA.
Producing culturally sensitive games should see Sandsoft, led by CEO Mo Fadl, avoid the controversies international gamemakers face when presenting content that does not respect regional specificity. Earlier this month, Tencent’s PUBG caused outrage across the region due to the inclusion of a totem worship feature.
Many equated the feature to idolatry, viewing it as disrespectful to the teachings of Islam and, in particular the Tawhid. Tencent eventually removed the feature, but some players deleted the game over its inclusion.
A strategic choice
Gaming in the MENA has a growth rate that is double that of other markets, something upon which Sandsoft is hoping to capitalize. CEO Fadl says, “I believe within the next three to four years, the big players will understand that MENA is one of the world’s major markets.” Sandsoft hopes to be well established by that time, gaining a strategic edge on the competition.
Underwriting Sandsoft is one of the MENA’s largest private sector employers, Ajlan & Bros Group. The group can assist Sandsoft with the critical infrastructure it needs to be a success including retail presence and cloud and payment infrastructure. The group has recently expanded into the entertainment sector with gaming at the center of their plans.
Abdulaziz Alajlan, managing director of Ajlan & Bros Group and a board member of Sandshoft sees the project as part of the broader modernization of the region, stating that the “MENA is going through an incredible transition, with the region being modernized and video games will play a key role.”
Gaming has already seen phenomenal growth in the region, with the MENA being the fastest-growing gaming region in the world. Growth is expected to triple in size to an estimated $4.4 billion by 2022.
To benefit from the regional dynamism, Sandsoft is putting together an expansive team. Currently, the team has 24 four employees across three offices and is looking to grow to 64 over the coming months. Sandsoft will offer a suite of publishing services across mobile, PC, and console platforms. In addition to producing original games the company will all localize foreign content and work on marketing and user acquisition.
Whilst the immediate goal is to conquer the MENA region, the arrival of Sandsoft could see regional perspectives introduced into other markets too, educating American and European audiences about local societal and cultural values through gaming.
Home to 22 UNESCO World Heritage cultural sites, the Islamic Republic of Iran’s past encompasses an intoxicating mix of empires, invading armies, and ancient poets. Despite the current regime’s predilection for hardline interpretations of the Quran and emphasis on Iran’s Islamic identity, the country’s pre-Islamic cultural heritage sites increasingly feature in pitches made to international visitors.
Despite extensive cultural offerings and low costs for food and accommodation, Iran remains relatively untouched by mass tourism. Hard-hitting sanctions, including flight bans, and frosty relations with much of the West have historically kept visitor numbers low. In recent years Iranian officials have made concerted efforts to increase tourist numbers. In 2019, Iran recorded a 29.7% year-on-year increase in tourists, bringing total visitor numbers to just over seven million.
Iranian officials hoping to see this trend continue were optimistic earlier this month about the possibility of welcoming tourists again from July. However, with over 100 COVID-19 daily deaths reported across the weekend, the highest numbers since mid-April, Iran may need to adjust timelines for tourists returning as the country focuses on containing the virus for a second time.
Prior to COVID-19 the historical and cultural sites drawing international travelers included the ancient city of Persepolis and the Pink Mosque (officially Nasir al-Molk Mosque).
BBC explores the “Art of Persia”
In 2019, the BBC’s Samira Ahmed spent six weeks with a film crew traveling across the country documenting some of its most sacred heritage sites. The result, the three-part “Art of Persia” series, is a journey across 2000 years of art and culture.
The Persians once ruled an empire from Egypt to Northern India and whilst their empire no longer exists, Persian culture and identity has withstood the arrival of invading armies, new languages, and a new religion to remain a source of pride among Iranians today.
Among the historical sites featured in the program are the garden tombs of Saadi and Hafez, Persian poets from the Middle Ages whose work inspired that of European writers. The tombs are popular pilgrimage sites. In recent times, the English translations of Hafez’s poetry have become a source of controversy with scholars claiming they are too inaccurate to be considered a reproduction of Hafez’s work.
At the crux of critiques of the English translations is the erasure of Hafez’s Persian and Muslim identity. For Professor Omid Safi of Duke University, this is an issue of “power, privilege and erasure” that robs the poetry of its original spirituality.
Among the most wondrous sites featured is the Nasir al-Molk Mosque, known colloquially as the Pink Mosque due to the extensive use of rose-colored tiles throughout the building. Located in Shiraz, in the Southwest of Iran, the mosque was built in the late 19th century.
Adding to the mosque’s uniqueness is the use of stained glass, not a common feature in mosque architecture. Sunrise sees light shine through the windows with elaborate patterns and colors cast onto its floor to create a breathtaking site.
In a largely male-dominated industry, the world of rap has opened up considerably in recent years under the impulse of many women who want to make their voices heard — even in the Arab world, where little space has been made for female rappers who are too often held to a different standard than their male counterparts.
After scouring both the mainstream and underground rap scene, here are eight of the best Arab female rappers you need to listen to. Strong, passionate, and politically engaged, these women are challenging social norms and stealing the spotlight.
Shadia Mansour
The British-Palestinian musician is one of the pioneering women of Arab rap. Dubbed “the First Lady of Arab Hip Hop,” Shadia Mansour has been performing from an early age, singing classical music before shifting to rap music.
Her songs are political statements that carry her passion for Palestinian liberation with a rapping style reminiscent of the 80s and 90s.
Malikah
Despite her sparse releases, Lebanon’s rapping queen Malikah has been in the game for over a decade.
Born Lynn Fatouh, she started her journey rapping both in English and French, and then, in 2006, she switched to Arabic after reinventing herself as Malikah, the Arabic word for queen, a title she has kept ever since.
She has collaborated with many central figures of the Arab rap scene and has made her way into the international festival circuit with cross-cultural projects such as Lyrical Rose, her trio with Kenyan artist Nazzi and Columbian rapper Diana Avella.
Meryem Saci
Montreal-based singer and rapper Meryem Saci is considered one of Algeria’s first female rappers.
Her sound is eclectic, mixing together various influences such as jazz and reggae with Middle-Eastern undertones and Gnaoua-style music.
The Algerian rapper never fails to impress with new aspects of her art and defines her style as “Afro-Arab.”
Mona Haydar
Syrian-American rapper Mona Haydar ventured into the music industry in 2017 and found immediate success.
Her first song “Hijabi” totals a whopping 7.2 million views on YouTube.
Far from being a one-hit-wonder, she has since released many songs and has racked up impressive views, making her one the most prolific and female rappers in the Arab world. Her songs speak of feminism, denounce racism, and advocate self-love, tolerance, and world peace.
Asayel Slay
The rapper shot to fame with her debut song, “Bint Mecca” (“Mecca Girl”), a song in which she celebrates women from Mecca, Islam’s holiest city.
Conservatives slammed her song along with the music video, accusing the rapper of undermining the customs and traditions of Mecca, Saudi Arabia. This led to the singer’s arrest, but she was released shortly after.
The controversy only made Asayael Slay’s hit even more popular as people went online to show support and solidarity with the rapper through the hashtag #بنت_مكة_تمثلني. (“Mecca girl represents me”).
Soultana
Soultana is one of the first female rappers in Morocco and the MENA region and has paved the way for a generation of Arab and North African women in the rapping industry.
Well-known for her a passionate rapping style and energetic delivery, Soultana rose to international prominence as part of Moroccan girl group Tigress Flow, before branching out as a solo artist.
Her biggest hit to date, Sawt Nssa, or “Voice of Women,” is a feminist manifesto in which she condemns street harassment and gender-based violence.
Medusa
Medusa Lp Aug 14 Photo 1 2 900×600
Boutheina El Alouadi, known as Medusa, is a rapper and dancer who has been immersed in Tunisia’s burgeoning hip-hop scene from the age of 10.
She is also the first woman rapper from Tunisia to break out onto the international scene. Her songs touch on topics ranging from abortion rights and revolution to world peace.
Mayam Mahmoud
She made a name for herself on the popular “Arabs Got Talent” television show, but Mayam Mahmoud is much more than a hijab-wearing rapper: She is a women’s rights activist who made it her mission to combat sexual harassment in Egypt, a mission that got her the 2014 Index Art Award in London.
Just like her advocacy, her songs tackle harassment, sexism, and victim-blaming.
The presence of churches is inescapable in Portugal, a country that has centered its identity since the Middle Ages on a Christian heritage and where students continue to learn of the reconquest against Muslim “invaders.”
Missing in any meaningful way from this narrative however is the approximately 500 years of Muslim rule during which Christians, Jews, and Muslims lived together in relative harmony. Ignored too is the influence that this period continues to have on art and culture in the region once known as al-Andalus.
Tracing al-Andalus
In 711, Arab armies from North Africa led by Tariq ibn-Ziyad conquered large parts of Portugal and Spain to create a region known in Arabic as al-Andalous. Whilst Arabic invaders did not force conversion, historians believe that by the 10th century approximately half of the population had converted to Islam.
Following the reconquest in the 12th and 13th centuries, subsequent Portuguese kings gradually expelled Muslim and Jewish communities from their territory. In 1496, the decision by King Manuel I to expel all remaining Muslims and Jews resulted in the creation of Portugal as an exclusively Christian nation.
Despite its violent end, the influence of the Andalusian period is still identifiable in the Portuguese language today. Portuguese writer Adalberto Alves has identified 19,000 Portuguese words that originated from Arabic and recently arriving refugees report surprise at recognizing words in a language they expected to be completely foreign.
One of the most extraordinary examples of this influence is the Portuguese word “oxala.” Pronounced “oshallah,” it is derived from the Arabic word “inshallah” and has the same meaning, “God willing.”
Eschewing the narrative of Europeans and Muslims as natural enemies, Alves has explored the ongoing influence of al-Andalus in Portugal and Spain. As a result of this work, which has highlighted contributions to poetry and art, many in Portugal are increasingly embracing Andalusian culture as a part of local history.
Celebrating examples of coexistence
Nationalist dictator Antonio de Oliveira Salazar furthered the conceptualization of Portugal as an exclusively Christian nation during the Estado Novo. Lasting from 1933 to 1974, the Estado Novo period depicted Muslims as the enemy and “the traces of Islamic history were erased,” explains anthropologist Maria Cardeira da Silva.
In the small town of Mertola in southeastern Portugal, archaeological work has highlighted how communities lived together and challenged dominant narratives of conquest. Claudio Torres, who founded of the archeaological Field of Mertola in 1978, suggests that trade was particularly important to the spread of Islam in the region.
As a result of centuries of interaction between Southern Europeans and North Africans, Torres believes the two groups “have a common past and a lot of cultural similarities. We are closer to northern Africa than we are to northern Europe.”
To that end the town of Mertola is embracing its history and in 2019 held its 10th Islamic Festival of Mertola. The annual festival highlights the influence that Islam and Muslim residents had on the region and draws performers and crowds from across the region.
As interest in Portugal’s Muslim history continues to grow, it serves as an anecdote to counter rising intolerance around the region and highlights the possibilities of peaceful coexistence.
Governments across the MENA region, including Saudi Arabia, Kuwait, and the UAE, have shut down shisha cafes as they attempt to slow the spread of coronavirus.
In Europe, where shisha bars are also closed due to government-mandated shutdowns, a number continued to operate illegally. Government officials in both Germany and the United Kingdom caught out illegal shisha cafe operators when health authorities identified the cafes as the source of new coronavirus outbreaks.
Earlier this month in the town of Gottingen in Lower Saxony, 36 people contracted coronavirus after visiting an illegally operated shisha cafe. A further 310 entered quarantine as a result of contact with those infected.
Perfect for spreading the virus
The communal nature of shisha, with the pipe being passed among groups, makes it a natural conduit for coronavirus. Health experts have suggested that the threat is heightened by the fact that only the mouthpiece is changed between use by one group of customers and the next.
The pipe and base remain the same between customers, furthering the risk of the virus spreading via particles from a contaminated user. The details of the spread of coronavirus during shisha use remain slightly unclear and further research is needed to understand in precise detail how the device contributes to the spread of the virus. Doctors remain sure, however, that the device is susceptible to spreading the virus.
Health experts have also suggested that the large exhalations of smoke clouds may also contain virus particles with the risk being particularly high when smoking in an enclosed space. The bouts of coughing that often accompany shisha smoking present a further risk.
Established health concerns
The case against reopening shisha bars is being expanded by some to include a discussion of the health impacts of smoking shisha.
Prior to COVID-19 concern was growing over the health impacts of shisha with studies showing that smoking shisha for one hour can be as harmful as smoking 100 cigarettes. The practice has also been linked to increased rates of diabetes and obesity.
The World Health Organisation (WHO) has previously stated that smokers are more likely to suffer from severe forms of coronavirus if they fall ill. As a result of the impact of smoking on the lungs, smokers are unable to fight the virus as effectively as non-smokers.
Despite the health concerns, the number of daily shisha smokers remained high prior to COVID-19. Arab News estimates there are 100 million daily smokers with 15% of 13-15 year olds in Kuwait, Bahrain, Oman, and Yemen smoking shisha.
The use of charcoal for heating shisha is a further cause for concern as it releases carbon monoxide. In enclosed bars and spaces this can lead to poisoning of staff and patrons. Last year, a shisha cafe in Tooting, in South London, was forced to close after the residents in the flats above, including young children, suffered carbon monoxide poisoning.
Carbon monoxide poisoning occurs when the colorless and odorless gas enters the bloodstream. As a result of mixing with haemoglobin, the blood is no longer able to carry oxygen and this causes the body’s cells and tissues to die.
Fortunately, all those in Tooting recovered, but the incident further highlights the risks of shisha. As coronavirus restrictions begin to ease and cafes reopen, there is space for broader discussions about the future of shisha cafes.
Consisting of multiple pieces, including front and back panels, a square chestpiece, and sleeves, it is possible to trace the Palestinian back to the second century B.C. Records from the era show the Canaanites (as people from the region were then known) dressed in the distinct fashion.
The detailed embroidery that features on the thobe, known as tatreez, is a skill that mothers have passed down to their daughters for centuries. In the post-Crusades era, tatreez patterns and the thobe styles began to influence the attire of European women.
Paintings from the period show garments featuring the same intricate patterns or Arabic calligraphy. By tracing the trading routes of the Middle Ages, historians have been able to link the garments directly to modern day Palestine.
Popular patterns featured on the thobe include the ancient eight-pointed star. The symbol has been found in crafts across the Middle East since antiquity. In Europe, it featured heavily on garments where it was known as the “Holy Star of Bethlehem.”
In recent years, the thobe has emerged as an important subject in projects seeking to preserve Palestinian history and culture. For historians and activists alike, the ability to trace the presence of the thobe in the region for thousands of years further legitimizes Palestinian claims to the territory as their ancestral homeland.
#TweetYourThobe
In January 2019, US Congresswoman Rashida Tlaib, the first Palestinian-American woman elected to Congress, wore a thobe during her swearing-in.
Tlaib’s announcement in December 2018 that she would wear the thobe sparked controversy with some netizens claiming that it was “anti-American” to wear the traditional dress of another country.
The backlash prompted fellow Palestian-American Susan Muaddi Darraj to start the hashtag #tweetyourthobe. In defiance of the anti-Arab sentiment at the heart of the controversy, hundreds of women shared photos of their thobes and pride in their Palestine heritage.
On her decision to wear the thobe, Tlaib wrote, “It fills me with joy to be able to show aspects of Palestinian culture.” For Tlaib, the decision was also political with the thobe as symbolic of the diversity of the United States. She described the move as “an unapologetic display of the fabric of the people in this country.”
The survival of the thobe and the practice of tatreez following the creation of Israel and mass exodus of Palestinians in 1948 is in itself a political statement. For many, the hundreds of hours of labor needed to produce a thobe is as much about Palestinian nationalism as it is about the production of the dress.
As Rachel Dedman of the Palestine Museum noted, “The historic thobe conjures an ideal of pure and untouched Palestine, before the occupation.” In diaspora communities, the thobe and tatreez have become important means of connection to Palestine and keeping Palenstianian culture alive.
In recent years, the production of cheaper and lighter versions has facilitated the thobe’s transition to an everyday piece worn to express pride and nationalism.
In Abu Dhabi the Louvre has led the way in pioneering digital offerings, creating a diverse range of ways for audiences to engage with the museum’s collections. These offerings include digital tours and talks by artists and curators.
The museum also created a podcast that uses a sci-fi narrative to explore its futuristic architecture. In May, the museum partnered with streaming service Anghami to launch a series of playlists based on its collections. The playlists contain 20-30 songs each and have been crafted to reflect the era and region of the art presented in the associated exhibition.
A cultural and artistic hub, Abu Dhabi has a plethora of galleries and art institutions and many have joined Abu Dhabi Louvre in offering online activities, including workshops and film screenings. As previously reported by Arabia Policy, the Sharjah Art Foundation is screening works by female Arab filmmakers throughout June for a virtual audience.
In Morocco, the Moroccan National Foundation of Museums has mobilized to offer online virtual visits with accompanying explanatory texts to some of the country’s most famous museums. The virtual visits commenced with the Mohammed VI Museum of Modern and Contemporary Art’s “In Front of Picasso” collection.
Beyond museums
The museums in Morocco are joined by the national library, which is offering free online access to all its e-books, and the Moroccan Philharmonic Orchestra (OPM), which is streaming concerts on social media, in offering online access to culture and the arts.
In Egypt, the country’s Ministry of Tourism and Antiquities has launched a series of online guided tours of archaeological sites, in addition to museums. The initiative has the dual purpose of promoting tourism to foreigners and educating Egyptians on their country’s rich history.
The tours, which are available through the ministry’s social media, include the Menna Tomb in Theban Necropolis and the tomb of Queen Meresankh III. The latter features some of the best preserved examples of burial art. Tours of more contemporary sites, including the Red Monastery, the 14th-century Mosque-Madrassa, and the Ben Ezra Synagogue, are also online.
Socially distant cultural events
In Saudi Arabia, the King Abdulaziz Centre for World Culture made sure residents were able to experience the joy of Eid despite the lockdowns through a series of lockdown parades.
Over 100,000 people enjoyed the parades, which featured traditional Saudi songs and dances such as Ardha, Sahrqi music, folk songs related to fishing and pearl diving, and Eid songs, from their balconies or windows.
As coronavirus lockdowns continue across the region, the ability to explore art and culture online or from a distance is a welcome relief for many.
