Lebanese artist Lana Khayat discusses her first solo show in Saudi Arabia

RIYADH: While the falcon and camel are the creatures most associated with Arabia’s skies and deserts, cats have long captivated the hearts of the people, historically and religiously.

In his new novel, “City of Cats,” Rafael Hernandez de Santiago sets his narrative in Jeddah, Saudi Arabia, exploring where the past and future collide during urban transformation.

“City of Cats” follows Amir, an architect torn between the love he has for his city’s heritage and the push toward modernization. He and his allies face resistance from powerful, money-hungry developers as they propose a cultural park to protect one of Jeddah’s historic districts.

Hernandez draws the comparison that cats represent the soul of a city. Speaking to Arab News at his book launch hosted at the Spanish Embassy on Tuesday, he said: “The cats of Jeddah serve as a metaphor for the city’s enduring spirit, quietly witnessing and adapting to its ever-changing landscape.”

The novel delves into themes of preservation versus progress, communal unity, and resilience of tradition in the face of relentless modernization.

Hernandez is a director and senior researcher at the Gulf Research Center and a prominent newspaper columnist who regularly writes on matters relating to politics, international relations, and data and AI.

Of his reasons for delving into the world of fiction writing, Hernandez said, contrary to the straight edge of fact and policy analysis that his columns require, fiction allows for a more interactive curiosity on complex issues and more emotional engagement.

“Instead of debating urban development and cultural preservation through articles, I wanted readers to feel the impact of these changes through the eyes of characters living through them.”

The Spanish citizen, who has lived in Saudi Arabia for almost 25 years, said that from the ancient Nabatean city of AlUla to the rise of modern metropolises such as Riyadh, the Kingdom balances rich traditions and heritage stories with an ambitious vision for the future, making it a compelling setting for a novel.

“My time here has given me a deep appreciation for its history, traditions, and the unique identity of its cities.

“The experience of witnessing Jeddah’s evolution firsthand played a significant role in shaping the story of ‘City of Cats,’” he said.

Hernandez said that Jeddah is a city where history and modernity coexist side by side. Al-Balad, its historic district, carries stories of merchants, travelers, and families through the generations, who give it a distinct identity. Yet it is constantly evolving, with new skyscrapers and developments.

“While Spain has its own rich history and cities undergoing similar transformations, Jeddah’s story feels particularly urgent. It’s a city at a crossroads, and I wanted to capture that moment.”

Hernandez spoke about how Jeddah acting as Makkah’s gateway gives it a unique character. And that characteristic furnishings, from coral stone houses to intricate mashrabiya windows, reflect the story of the Red Sea and its maritime trade routes.

Contrary to Jeddah’s openness and free-flowing nature, Riyadh’s soul mirrors that of a wise and progressive leader who still stands strong in his structure and heritage, according to Hernandez.

“Like the stray cats that roam both cities, their souls are defined by their ability to survive, adapt, and persist despite the changes around them,” he said.

“City of Cats” is available in English, with Arabic and Spanish translations expected to follow.

Hernandez hopes to turn the novel into a musical one day, as the arts and entertainment scene in the Kingdom rapidly grows.

“The story lends itself beautifully to the format … Musicals are a celebration of storytelling, culture, and emotion — and Saudi Arabia is overflowing with stories and traditions waiting to be expressed in new, creative ways.”

He said that if Saudi Arabia were to start producing musicals, it would open the door for local talent; composers, lyricists, set designers, and actors who are eager to share their creativity with the world.

RIYADH: Saudi contemporary artist Manal AlDowayan unveiled her latest work, “Thikra: Night of Remembering” at the AlUla Arts Festival in late January. 

The site-specific dance piece, designed by AlDowayan in collaboration with renowned English dancer and choreographer Akram Khan — who is of Bangladeshi descent — and residents and artisans from AlUla, was one of the festival’s main highlights. It will now go on to be adapted for various theaters around the world. 

AlDowayan told Arab News: “The fact that it’s a fictional story, not tied to a specific time or civilization — it could be none or all at once — makes it something people can easily connect with. There’s a mix of cultures, stories, symbols, and rhythms. Of course, the AlUla landscape had a big influence, along with the collaboration with local musicians, dance elements, crafts, and symbols, but there are also essential elements from other cultures around the world, especially traditional Indian dance reimagined through Akram’s performance, and sound elements from various cultures and even from nature.”  

Over the past few years, AlDowayan has gravitated towards exploring the idea of “othering” in her practice. As she has become more well-known internationally, she says, she’s looking to open up conversations to bridge cultures.  

And she is no stranger to responding to AlUla’s landscape in her work: she’s showcased in the historic city as part of Desert X with her artwork “Now You See Me, Now You Don’t,” and staged a show titled “Their Love is Like All Loves, Their Death is Like All Deaths,” and a participatory exhibition titled “Oasis of Stories: Manal AlDowayan and the People of AlUla” with over 1,000 community participants for Wadi AlFann.  

“Thikra” was inspired by, among other things, AlDowayan’s memories of gathering around a campfire under the starlit sky to tell stories. The performance took place on a circular stage between cliffs. 

“The audience sits around on traditional Sadu weaving carpets, occupying one half of the circle, while the community occupies the other. In the center, the dancers perform a story about ancestral knowledge,” AlDowayan said.  

The dance pays homage to the long line of civilizations that have inhabited the land around AlUla over centuries, as evidenced by the symbols engraved on rock formations and its varied architecture. 

“I incorporated some of these symbols into the costumes and props to represent the overlapping of different timeframes and the coexistence of rituals and traditions,” AlDowayan explained.  

She based the color pallet of the fabric on the tones of the surrounding landscape and culture; the sandy beige, the red-brown of henna, the pink rocks, night black, and the green of small plants that “emerge between the sand, almost as an act of resistance,” she said.  

AlDowayan worked with the Madrasat Addeera School of Arts and Crafts to produce local, natural pigments for the fabric, adding to her longstanding tradition of collaborating with local artisans.  

The collaboration with Madrasat Addeera had two main aspects: design and fabrication.  

In a participatory workshop with the students, she presented her vision for the visual direction, portrayals of different characters, and her incorporation of local symbology and storytelling in the project. She was also keen to represent the community directly on stage through their designs.  

She said: “I encouraged them to work with these symbols — ones deeply present in their daily lives and crafts — and together we brainstormed the designs. Their input and self-representation was an essential aspect to me.  

“They created more than 50 flag designs, incorporating traditional techniques such as palm weaving, Sadu, embroidery, and clay. The results were incredibly creative and beautiful. I selected a set of designs and slightly reworked them to fit the overall vision.”  

Her studio then commissioned the school to make the flags. “Many of the school’s studios and senior crafters worked together to bring them to life,” AlDowayan said. “I am honored to bring to the global stage not only local stories, but also their own traditional crafts.” Members of the community then paraded these flags as part of the performance. 

AlDowayan described working with Khan as a “gift,” saying: “I have followed and admired his work for a long time. So when I received the invitation to collaborate with him, I was thrilled — but I also wondered how open the creative process would be. 

“From our first research visit to AlUla, the creative connection between us was instant. We immediately understood each other’s vision and actively collaborated on all aspects of the performance with openness and trust, I think because we both admire each other’s work.” 

Forty local participants of all ages volunteered via open call to work with Khan’s legacy team Jumana Al-Refai and Bilal Allaf, who led community movement workshops. They eventually became part of the performance.  

The narrative of the show is “based on the idea that without a past, there is no future. It’s a call for remembrance, told through the story of a community of women and how they preserve and pass down ancestral knowledge,” AlDowayan said. “This is something I first realized during my early visits to AlUla. My education ignored the ancient civilizations of this region, and when these historical sites were finally opened to the public, I was suddenly exposed to all this knowledge through the architecture and rock inscriptions. It was incredibly inspiring to learn that we have deep roots and to discover the traditions, symbols, and way of life of those who came before us.”