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Be they merchants, pirates or migrants, all sailors found tales and cats so lovable and useful that they welcomed them both on board their boats, travelling with them all around the world. And so it was that versions of the Panchatantra tales, the Thousand and One Nights, and Snow White circled the globe, enchanting listeners, readers, and viewers in hundreds of languages and dialects.Later, the fantastical was joined by the futuristic imaginings of science fiction, and later still by superhero stories, which are now among the most well-traveled of tales, thanks to heroes like Spider-Man, Sailor Moon, and Astro Boy. Although some dismiss these works as “just for children,” we believe that joy and imagination are for readers of all ages.&nbsp;&nbsp;Join us as we launch into the air and tour the world via impossible wishes and terrifying dragons, visit underground dystopias, and experience triumph over villainy.

Anything you can imagine, may have already been written or about to be so.

This fast-paced fantasy follows young Qamr into an imagined past that takes us from Palestine to Morocco, and Egypt to India, weaving together elements of Abbasid and Ottoman history.Qamr is born in a strange, grim village where little girls—and even female animals—have mostly disappeared. After the deaths of her parents, she sets off on a wild, Ibn Battuta-esque journey around the world, in which she must escape enslavement, disguise herself as a pirate, and go to the ends of the earth to track down her missing daughter.A book for anyone who loves the imagination.

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 Wondrous Journeys in Strange Lands, Sonia Nimr

&nbsp;This is a graphic-novel trilogy set in an alternate version of Egypt where wishes are real and for sale. There are cheap wishes for the poor and reliable wishes for the rich, although none of these characters has an easy time of it.The first book follows Aziza, who saves up for years to buy a “first class” wish, but then is accused of stealing it. The second follows Nour, an upper-class student suffering from depression, which is difficult to wish away.In the third, we travel back in time to meet a dragon and discover parallel realities spawned by wishes. A smart delight.

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Shubeik Lubeik, Deena Mohamed 

This magical-realist Kuwaiti novel tells the tale of a middle-aged woman triumphing over war and injustice with the help of her trusty donkey, Good Omen.The titular Sabiliyat is a village near the Iran-Iraq border. When the book opens, it’s 1980, and the village’s residents are being evacuated. As they trudge out of the town, Um Qasem’s husband dies and is buried along the route. While Um Qasem’s children continue into exile, she receives a vision that tells her to disinter her husband and return him to their village—a vision she and Good Omen duly obey.

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The Old Woman and the River, Ismail Fahd Ismail

&nbsp;This Choman Award-winning novel is set in a future Comoros Islands where most people live underground in the Hive, while only a privileged few live in the glittering city of Quartzia.Here, a person’s status is determined by their IQ at birth, which most of the poor believe is unchangeable. However, sixteen-year-old Dalia (who grew up underground) is determined to win big at a televised math competition, which will not only free her from servitude but also prove that change is not impossible.

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I Want Golden Eyes, Maria Daadouche, translated by M Lynx Qualey and Sawad Hussain

&nbsp;When the iconic Astro Boy first appeared on TV, it was the first major Japanese series made in a style that would later come to be known as anime. In the 1980s, Astro Boy was dubbed into Arabic and dozens of other languages. But the book, written and illustrated by Japanese artist Osamu Tezuka, came out in 1952, featuring a young robot boy who must fight crime and injustice with his seven superpowers.&nbsp;

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Astro Boy, written and illustrated by Osamu Tezuka, translated by Frederik L. Schodt

&nbsp;In this collection, twelve Egyptian authors imagine Egypt a hundred years into the future. In Nora Nagi’s oddly hopeful “Unicorn2512,” translated by Mayada Ibrahim, people live in tiny apartments, their bodies hooked up to something akin to life support, while their minds roam a virtual world, and only a few who refuse to join in remain outside. In Azza Sultan’s “The Sky Room,” translated by Elisabeth Jaquette, people live in a high-rise world of mirrors and facades, where they see nothing but reflections of themselves. Each author creates a new, possible future to consider.

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Egypt + 100, edited by Ahmed Naji

To discover other creative literary works from ArabLit Quarterly, check out their <a href="https://arablit.gumroad.com/l/ALVTA?layout=profile" target="_blank" rel="noopener noreferrer">FOLK issue</a>.To enjoy the borderless world of books, please visit <a href="https://www.ithra.com/en/visit-ithra/attractions/library" target="_blank" rel="noopener noreferrer">Ithra library</a> and the <a href="https://arablit.org/" target="_blank" rel="noopener noreferrer">Arablit website</a>.&nbsp; &nbsp;

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Cats, Sailors, and Strange Lands: Tales of Imagination

In the Qatari art scene, there are names who have succeeded in blending visual creativity, academic vision, and authentic aesthetic philosophy. The late Qatari artist Wafa Al-Hamad (1964-2012) is at the forefront of these figures. Over more than two decades Wafa built a rich visual legacy that continues to inspire artists and researchers in contemporary art.Wafa Al-Hamad was born in Doha, the capital of Qatar, and began her artistic journey early in life at Al-Marsam Al-Hurr (The Free Atelier), where she trained under the supervision of a group of elite local and Arab artists. Her talent was evident, which quickly culminated in her enrollment at Qatar University, where she earned a Bachelor's degree in Art Education in 1986, becoming one of the first women to specialize in this field. Wafa continued her graduate studies, earning a Master’s degree in Fine Arts from Eastern Michigan University (1991) and a PhD in Art Education from the University of North Texas (1998), becoming the first Qatari female professor in the Department of Art Education and establishing a new era of specialized art education in Qatar.

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Wafa was not just an academic; she was an artist with a unique style. Her works were characterized by what might be called dreamy optical illusions and contemplative abstraction, evoking local memory and identity within a modern artistic framework that blended heritage with innovative techniques.She participated in numerous local and regional exhibitions, most notably: ● Her first solo exhibition with the Qatar Fine Arts Society ● The regional exhibition “A Fragrance of the Past” ● The Fourth Sharjah Biennial (1999) ● The "Arab Female Visual Artists" exhibition at Sharjah Art Foundation ● The "6 Gulf Women " exhibition at the Sharjah Cultural PalaceAt the national level, she has left a distinct mark in exhibitions such as: ● Swalif: Qatari Art Between Memory and Modernity ● Lived Forward: Art and Culture in Doha.

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Geography of Imagination

As a commemorative initiative, Mathaf: Arab Museum of Modern Art organized a comprehensive exhibition titled "Geography of Imagination," revisiting the artistic journey of Wafa. The exhibition explores the influence of international and Gulf art on her experience, highlighting her Qatari and Arab cultural roots that shaped her visual philosophy.Curator Lina Ramadan said, "The exhibition explores the global and Gulf influences that have influenced the development of modern and abstract art and contributed to shaping Al-Hamad's artistic vision. It also highlights the Qatari and Arab traditions that inspired her aesthetic practices, revealing a unique artistic philosophy."This artwork, "Ocean Floor," was inaugurated at the Cultural Village “Katara” as a mural in commemoration of Wafa. She was not only an artist, but also an educator, designer, and founder of an ambitious visual awareness in the community.&nbsp;This short article will not do justice to her legacy, but we hope it will serve as an introduction to exploring her pioneering and authentic art.

More artwork by the late Wafa Al-Hamad:

Wafa Al-Hamad: Worlds of Art and Imagination

In the 1990s, the edge of a bed, under a dim lamplight, became a laboratory for a new kind of science fiction and horror. An entire generation of teenagers would end their day with a journey into strange worlds led by Dr. Refaat Ismail, the hero of the "Paranormal" series.He was a retired hematologist, sick and insecure, but constantly forced to confront terrifying mythical creatures. This simple, affordable series became a gateway to new imaginary worlds for Arab readers.Years later, a reader recalled those moments, saying, "It was as if they were movie tickets shown only in my imagination."Ahmed Khaled Tawfik (1962–2018), the quiet Egyptian physician, created these worlds, changing Arab youth's relationship with reading, and raising the question: How was one writer able to build an imaginary Arab world that captivated an entire generation?

&nbsp;In fact, Tawfik did not emerge from a vacuum; there had been previous attempts in Arabic literature. In the middle of the last century, Tawfiq al-Hakim presented the play "Journey to Tomorrow" (1958), and the Egyptian writer Nihad Sharif (1932–2011) published famous novels such as "The Conqueror of Time," "The Thing," and "Under the Microscope," earning him the title of "Dean of Arabic Science Fiction."&nbsp;However, since the 1970s, production of this literary genre has virtually ceased, and works dealing with futuristic science fiction have remained extremely rare, until the emergence of the modern Arab institution that introduced Nabil Farouk with his famous series "The Impossible Man," followed by the science fiction series "The Future File."Only in the last decade has academic interest in neglected Arabic science fiction begun to emerge. The Egyptian Society for Science Fiction was founded in 2012 to revive this genre.&nbsp;In this context, Ahmed Khaled Tawfik appeared in the early 1990s with “the Modern Arab Establishment”. In 1993, he published the first issue of the “Paranormal” series, which achieved widespread success. He then followed it with the “Safari” series, which combined adventure with medical science, “Fantasia”, and then his famous novel “Utopia” in 2007, which achieved great critical and commercial success.&nbsp;

Before The Godfather: Intermittent attempts and a long absence

&nbsp;Tawfik possessed a unique intellectual vision in constructing his imaginary worlds, blending scientific methodology with the allure of myth, and bringing together two opposites in a single plot. In the "Paranormal" series, Dr. Rifaat Ismail confronts vampires, werewolves, and Greek and Tibetan myths, but all with the mindset of a skeptical scientist.&nbsp;In his stories, he takes us to the mysterious Tassili Caves in Algeria, to Scotland with the Loch Ness Monster, or to a medical laboratory in Africa to explain the Ebola epidemic and the tsetse fly. This use of scientific knowledge in a supernatural context was a distinct feature of his; it added a depth to suspense literature that went beyond simple entertainment.Tawfik always remained on the edge between the reasonable and the supernatural, never surrendering completely to fantasy, nor closing the door to mystery entirely, but rather keeping his reader suspended between scientific and mythological interpretation.This approach is also reflected in his heroes. Refaat Ismail is the ultimate antihero, far removed from the traditional superhero image—a thin, resourceful old man who survives thanks to luck. With his sarcasm and human flaws, Refaat seems relatable to the readers; we love him simply because he resembles us.We didn't wish to become like him, because we already are. Refaat represents us because of his weakness, and his ability to exact revenge through sarcasm, not physical force.

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The secret to Tawfik's success: the language of life and heroes who resemble us

&nbsp;Tawfik's imaginary worlds were not an escape from reality, but rather a reflection of it. At the height of his career, he wrote novels that addressed societal issues: Utopia depicted a futuristic nightmare of Egypt in 2023 and its class divisions, and "Sha'abeeb" (2018) imagined an alternative homeland for Arab immigrants.Tawfik was not just a novelist, but a cultural phenomenon who created a generation of readers and writers. He was dubbed the "godfather" of prominent figures such as Ahmed Murad and Hassan El Gendy. He inspired Arab writers such as the Saudis Ibrahim Abbas and Yasser Bahgat, authors of the novel "Hojan," which was adapted into a film in 2023, as well as the Egyptian Sherine Hanaei in her "Lashin" series.&nbsp;&nbsp;

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A hidden mirror of reality and a lasting cultural impact  

&nbsp;In 2020, Tawfik's influence extended to the screen, when Netflix produced "Paranormal" as its first original series in the Egyptian dialect. The series was broadcast in 190 countries, with 32 subtitles and 9 dubbed languages, transforming this genre into a part of Arab soft power.&nbsp;Meanwhile, Utopia was translated and taught at Egyptian and international universities, affirming the status of popular literature as an important cultural tool.With Tawfik's passing, he left behind more than just novels, but a narrative style and a new way of thinking that inspired thousands of young people. His famous recommendation, "I made young people read," is inscribed on his grave, a living testament to his exceptional impact.The question remains open: Can Tawfik's legacy be transformed into an organized cultural movement, or will his worlds remain isolated islands whose value derives solely from his leadership? The answer hinges on the ability of future generations to draw inspiration from "The Godfather" and continue on the path.&nbsp;&nbsp;*Ahmed El-Fakharany: is an Egyptian novelist and journalist. He won the Sawiris Award for his novel “Bayasat El-Shawam,” and his novel “Bar Layalina” was longlisted for the Booker Prize. He currently serves as editor-in-chief of digital programs at “Alaraby Tube”.

Moving from paper to the global screen

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The Godfather: How Ahmed Khaled Tawfik Created a New Arab Imagination

Perhaps the first thing that drives attraction to myths are those simple but &nbsp;big childhood memories. Growing up, I would hear our mothers and grandmothers talk about this person who writes, this person who has a book and can do things no one else can. This was their idea of hidden force.&nbsp;My imagination went directly to books and language as material things. I would sneak into my brother's library when he was away, searching for that supernatural power, imagining I'd find it, even though I never touched a thing.I grew up, read, and researched over a long period of time, and then I was drawn back to myths as an "inexhaustible" resource, as Nicholas Farida describes them. You can't describe them other than as opening the door to understanding the human mind and its creative interactions with nature and phenomena, life and society.&nbsp;Mircea Eliade defined myth as "a symbolic interpretation or story that narrates a strange or supernatural event, found in a subculture, characterized by its widespread transmission and dissemination, and its profound influence due to the wisdom, philosophy, excitement, and inspiration it contains." It operates within a special sphere of human experience, intersecting with nonsense and folk tales, but it enjoys a sacred influence: that wonderful world called “imagination”!&nbsp;Five years ago, I had the experience of writing for Saudi TV, in a program of my own idea and writing, called "Nas Logia." Its first season was about myths and folk tales from the various regions and areas of the Kingdom. I cannot describe what I went through on this journey from region to region, and my attempts to get closer to the legacy and its hidden extensions, over hundreds of years, to humans today.This legacy encompasses &nbsp;the world of jinn to the world of chants, rocks, clothing, food, love, animals, time, terrain, houses, death, fear, hope, sorrows, disappointments, victory, life in its entirety, and everything connected to it. It encompasses the life of the human being who created in his imagination another world, and this imaginary world has helped him to continue and persevere, to survive, to progress, and to dream. Everything was composed of morals and values, and the qualities and characteristics of Arabs in the region in general; with their honesty, generosity, and courage, and certainly with their universal human character.

You will find traces of Eve, her qualities, her influence, and her destiny in women’s speech; the gown that has become a weaving festival; the Arabian leopard that is on the verge of extinction, but which was once part of the family, fairies and poetry, the desert, valleys, and rocks, the sea, coasts, and mountaintops!&nbsp;In the Saudi context, mythological imagination was the talk of the early generations. For example, the Saudi writer Abdel Karim Al Juhayman collected 136 Saudi legends and folk tales in his five-volume book "Folk Legends from the Heart of the Arabian Peninsula," and many more in other books, tales, and narratives.What's striking is that this imagination not only raised the bar for language and dreams, but also humanized geography in its most minute features. These myths connected “man” - his memory, and the furthest reaches of his mind - to “place”: from pebbles to coral, from palm trees to the prairie, from land to everything around him. All that is called homeland, the land of eternity.Al-Sa'la, Raha Al-Hilali, Hamarat Al-Qaylah, Umm Al-Sa'af Wal-Leef, Aja and Salma the Arabian tiger, the wells of the hair fairy, the robe of the orphan, the dagger of Barqan, Dhi Ain, the caves of time travel... etc., and hundreds of myths in all regions of the Kingdom of Saudi Arabia, still present in its deep imagination in the oral and written, in the deep and the simple, in the behavior of people, their language, their beliefs and their natures. These are regions in their raw state for anthropological research that still needs to catch up!&nbsp;Many of the clever, innate uses of imagination reflect a profound understanding of human nature and our need to create worlds beyond our own. Thus, popular imagination has transformed natural phenomena and environmental hazards into vivid, compelling characters, imbued with poetry, abilities, and power, and belonging to storytelling, to narrating the world from its own perspective.I am still the one who goes not only to books, but to life and people, searching for that supernatural power, “imagination” and myth, and I am forever in awe &nbsp;of its effect and its action.

"Imagination"... Oh, Land of Eternity!

We discover the world with an instinct that drives us to see the unseen and imagine what doesn't yet exist. The initial spark begins with a simple question: "What if?" Imagination, in essence, is a hidden mirror to reality. Although it may seem at first glance separate from it, or a means of escaping it, it is what grants humans the ability to transcend the familiar boundaries of knowledge in science, art, and even the details of daily life. It is a tool for discovering the unknown, redefining the known, and proposing what cannot yet be proven.&nbsp;In science, the most important theories and major discoveries were merely imaginary visions until they were proven by numbers, equations, and experiments. We were never satisfied with what is; we tried to envision what could be, and in our imaginations, we drew models of the universe before seeking evidence to prove them. Theories such as gravity, relativity, atomic theory, quantum mechanics, and others (all of which transformed our understanding of the world) &nbsp;were initially nothing more than imaginary ideas.In one of the first attempts at flight in history, Abbas Ibn Firnas didn't actually see flight, but he imagined it, trying to mimic birds with wings he made himself. Al-Hasan Ibn al-Haytham paved the way for the invention of what he had never imagined, the camera, after arriving at a conception of the laws of light and its transitions. Leonardo da Vinci blended reality with imagination. In one of his drawings dating back to 1485, we see a study of shapes resembling war machines: chariots equipped with rotating blades pulled by horses. In today's language, its construction suggests a first vision of a spaceship, but it was designed in the Renaissance for military purposes. Is there a real line between reality and fantasy?Through imagination and serious effort, man created airplanes, crossed the seas, and reached space.&nbsp;In technology, artificial intelligence began with a crazy idea: Imagine machines that think and behave like humans! Basic sciences intertwined in the emergence and development of this idea, each adding a cognitive or technical foundation that contributed to its emergence as the form we know today. Between philosophy, mathematics, computer science, neuroscience, cognitive psychology, and linguistics, artificial intelligence has become a reality that intertwines with the details of our daily lives.&nbsp;In art, imagination is merely its essence: an attempt to understand what we cannot see, but feel, thus documenting it and a way to re-understand life from a broader perspective. The painter conveys a scene as he feels it, not as he sees it. The photographer captures the moment he dreams of. The writer creates new worlds. The musician hears notes not yet played. The sculptor sees forms hidden within a block of stone. Art, at its core, is a daily exercise in exploring the possible and rediscovering the familiar through imagination.&nbsp;In daily life, we run through its paths, imagining scenarios that have not yet occurred, and transcending the limits of current circumstances. Imagination is the inexhaustible and unwavering impetus that drives simple decisions. Like everything precious, it does not spring from a vacuum, but rather thrives in environments that embrace it, believe in its freedom and importance, allow it to expand and experiment, and celebrate it with a flame that precedes every achievement.

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Imagination is our tool for discovering the unknown

Libraries are the sacred vaults of human imagination—guardians of worlds both real and dreamed.&nbsp;Within their hushed halls, carefully-bound atlases whisper of lands where dragons circle uncharted islands in the world’s first modern atlases, and ancient manuscripts crackle with the magic of One Thousand and One Arabian Nights, where Jinn, known as Genies, defy time and cunning figures like viziers spin fate like silk.Here we share some of the magic of imagined worlds through a collaboration with Qatar National Library (QNL) by showcasing a selection of some of their treasures, as curated by Aysha Hassan Al Ansari, the Head of Heritage Collections at QNL.These are not mere books or atlases or pages, but rather magical portals—where a child can vanish into a magical world, a scholar can debate with Ibn Sina’s ghost, and a poet can trace the footsteps of Antarah’s epic love.&nbsp;In libraries, ink and parchment become alchemy, transforming curiosity into fire, and every reader—whether flipping pages or scrolling on screens—joins the oldest human ritual: the endless, hungry chase for magical stories that help make the universe feel vast, interconnected and wondrous.

&nbsp;Ibn Tufail's Hayy Ibn Yaqdhan is a 12th-century Arabic philosophical novel about a child who discovers truth through reason while living alone on a desolate island.This work influenced Arabic, Persian, and European literature, and the philosophical thoughts it expresses are reflected in the works of influential Western philosophers like Hobbes, Locke, and Kant.&nbsp;This rare Dutch edition, reissued with a new title page and edited by Adriaan Reland from a Latin version, offers readers a new chance to explore this thought-provoking work.The first Dutch edition dates back to 1672 CE.

Hayy ibn Yaqdhan 

Antoine Galland (d. 1715) was the first European translator of the One Thousand and One Nights. His version appeared in 12 volumes from 1704 to 1717, and was adapted to the taste of the time. It had a significant influence on later European literature and attitudes to the Islamic world. Some scholars attribute the tales of Aladdin and Alibaba to him.

One Thousand and One Nights

The full title: Theatrum orbis terrarum / opus nunc denuo ab ipso auctore recognitum, multisquè locis castigatum, &amp; quamplurimis nouis tabulis atquè commentarijs auctum. Abraham Ortelius (1527 -1598), a Flemish cartographer and dealer in maps, books, antiquities, is known for creating the first modern atlas and even included sea monsters (especially on the map of Iceland). These fantastical creatures, often inspired by legends and mariners' tales, filled the unknown and dangerous areas, adding mystery and wonder.

Theatrvm orbis terrarvm (Theatrum Orbis Terrarum)

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&nbsp;Map of Egypt (1729) showing the Nile River and Delta. There are 30 vignette illustrations of early Egyptian gods and symbols. Egypt then, and today, continues to inspire imagination and stories, especially given their ancient mysteries. &nbsp;

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Map of Egypt

This is the first look at our collaboration with <a href="https://www.qnl.qa/en" target="_blank" rel="noopener noreferrer">Qatar National Library (QNL)</a>.&nbsp;We hope our readers enjoy discovering and rediscovering treasures in QNL and perhaps, some other forgotten treasures in our own libraries.&nbsp;

    

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Where Monsters, Myths and Magic Maps Are Found

Move over, Barbie. Step aside, Beanie Babies. There's a new darling in the collectible world, and it's a tiny, toothy, delightfully devilish creature with a cult following that's growing faster than you can say “Labubu!”A creature of contradictions—both playful and a little sinister, Labubu is a mischievous, pointy-eared, fang-bearing creature with a grin that suggests it's either about to hug you... or steal your snacks! Part adorable, part slightly unsettling (in the best way), Labubu is the breakout star of Kasing Lung's "The Monsters" universe—a fantastical world filled with quirky, expressive creatures that feel like they've jumped straight out of a fairy tale.“Labubu can do what I want to do, but I don’t dare to do it,” said the brilliant artist Lung. Born in Hong Kong in 1972, Lung’s artistic journey began with an early-life move to the Netherlands—a transition that would profoundly shape his creative vision. He learned Dutch by reading children’s books and fairytales, and he developed a deep fascination with Nordic folklore, its mythical creatures (such as elves) and haunting tales. These ancient stories would later become the foundation for his iconic creations: Labubu and The Monsters.

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“I created something that is linked to these fairytales” he said. Blending whimsy and darkness, Lung’s characters captivate with their mischievous charm and otherworldly allure.Labubu is produced by the Chinese toy company Pop Mart, which is known for selling collectible designer toys, often in "blind boxes" (where the specific character is unknown until opened). Labubu has become a global phenomenon, gaining cult status thanks to &nbsp;its unique design, the thrill of the blind box experience, as well as celebrity endorsements and viral social media trends.And it is not just the children that have fallen under these whimsical little monster’s special; adults of all ages have also been chasing this creature down into the rabbit hole of adorable chaos.This sudden frenzy for dolls is not new. Past toy crazes included the Cabbage Patch Kids riots of the 1980s (where parents literally fought in stores to snag one), Beanie Babies mania in the 90s, the Furby’s late 90s takeover, Tamagotchi’s digital pet obsession, Funko Pops in the 2010s, the very colorful ‘Good Luck Trolls’ who were popular during the 1960s, 80s, and again in the 90s and, throughout all that, there’s always been Pokémon.But besides the addictive thrill of the hunt, the blind box experience, the FOMO (fear of missing out), and perhaps the desire to belong to a special community of Labubu fans, there is admittedly something special with Labubu.The doll has personality—something many mass-produced dolls lack. What starts with "I'll just get one..." quickly spirals into shelves full of grinning little monsters, each with its own quirky charm and style.

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So, will you resist the call of Labubu? Or will you, like so many before you, surrender to the fangs and the fun?

Labubu Dolls: Mischief, Monsters & Collectible Mania

Reason is the eye of the soul, and imagination is its light,

Imagination is humanity’s first and most powerful technology.Long before we built cities or coded algorithms, we told stories—myths of gods and monsters, legends of heroes and villains, whispered tales of worlds beyond our own.These imagined realms did and do more than entertain; they shape cultures, challenge perceptions, and offer escape while also reflecting our deepest fears and brightest hopes.From the futuristic visions of science fiction that push the boundaries of what’s possible (such as time travel to lightsabers) and the fantasy epics and timeless tales (such as the One Thousand and One Nights) that resurrect ancient magic in modern minds, to the vibrant, kinetic energy of comic books, anime, manga and graphic novels; all these genres remind us that imagination is not just child’s play. It is innovation, self-reflection and empathy all at once.

     

In this edition, we celebrate the theme of “Imagined” and the boundless realms of the mind, where dragons soar through neon-lit skies, starships chart courses through mysterious nebulae, and the ordinary transforms into the extraordinary with the turn of a page or click of a button.It is important to pause and appreciate the pioneers in this field, such as Mary Shelley's Frankenstein (1818), often called the first true science fiction novel. Still, there is an earlier work from the Arab literary heritage believed to include the world’s first sci-fi novel, written some time between 1268 and 1277: Ibn Al nafis’s Al Risalah Al Kamiliyyah fil Sira al-Nabawiyyah (The Treatise of Kamil on the Prophet’s Biography). Also known as Theologus Autodidactus, this book imagines a boy on an island who meets a set of castaways and who is then taken back to the civilised world. The philosophical book explores all sorts of themes, including doomsday, futuristic technology, and a self-taught protagonist that predates Western sci-fi by centuries.From the Epic of Gilgamesh (c 2100 - 1200 BCE) — an ancient Sumerian and Akkadian epic poem about the eponymous hero, Gilgamesh — to J.R.R. Tolkien’s The Lord of the Rings (1954-55), we encounter endless brave heroes &nbsp;and powerful villains in hundreds of imagined worlds that inspire us, sometimes terrify us, but always take us beyond our known world.&nbsp;

&nbsp;What if one could become a prince from another planet, such as Duke Fleed in our beloved and nostalgic anime Grendizer, for a day, and protect our loved ones and the planets from an evil empire with the help of a formidable robotic companion? I know I would love to pilot Grendizer for at least a day and go on an adventure!Asking yourself the ‘what if’ may help you process reality by reshaping it first in your mind, and see where it takes you.&nbsp;Imagination is not just escape — it is expansion. It may well be the blueprint for progress, the spark of positive possibilities, and the bridge between cultures, even if some &nbsp;of them are imagined.To the dreamers, wanderers, world-builders, and everyone else in between, we hope you enjoy this latest edition, and may it inspire new ideas and possibilities.&nbsp; &nbsp;

Always ask yourself: "What if…”. 

The Infinite Worlds of “Imagined"

Our imagination knows no bounds. It is ingrained into every neuron of our brains, carried across generations through every letter of our DNA, and infused into every bit of our being with each beat of our hearts.We draw inspiration from everything around us, and we express ourselves in whatever medium we have a passing familiarity and competence with.Take the Conference of the Birds, for example. A Quranic passage describing Prophet Sulaiman’s understanding of the speech of birds inspired 12th-century Persian poet Farid Al-Din Attar to craft his now famous epic. At its heart is the mythical simurgh — a Persian incarnation of the phoenix, symbolizing divine wisdom and self-realization.In the 13th and 14th centuries, we see these mythical birds in other mediums, most notably handicraft. The bowl featured here is a striking example. It depicts five phoenixes in graceful flight, alive with motion.&nbsp;This is a notable departure from similar designs of the time, which typically depict four birds in more symmetrical and static arrangements.The phoenix motif, while originally rooted in East Asian traditions, was introduced into Islamic art during the Mongol conquests in the 13th century and the establishment of the Ilkhanid dynasty in Iran and Iraq.This bowl is more than just a piece of craft, though. It is a story, a memory, and a spark of imagination, suspended in time. It reminds us that art is not only a mirror of culture but also a bridge between myth and material, imagination and form.This beautiful ceramic bowl, along with other gems, can be viewed at Ithra’s Gallery 3. Click <a href="https://www.ithra.com/en/visit-ithra/attractions/museum/kunooz-gallery" target="_blank" rel="noopener noreferrer">here&nbsp;</a> for more information.

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Flights of Imagination

‘Action!’ And the film starts rolling and a new imagined world is recorded and comes to life.&nbsp;&nbsp;Trying on costumes, playing roles or simply immersing oneself in a book or play or movie, there are many ways to escape and imagine a different world, a different perspective, and even a different self altogether.In our latest edition, we go back in time and see how theater, cinema and the different worlds we create continue to entertain as they challenge us to think outside the confines of our realities.&nbsp; &nbsp;

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Trying on Different Hats

I remembered Layla and the bygone years... and the days when no one forbade our cheer.

Every nation in the world has immortal love stories that have left a profound impact on their conscience and coloured their memories across generations, celebrating love and infatuation, and fascinated by the lives of lovers.These stories have become legends and tales told throughout the ages, including the story of the most famous lover, Qays ibn Al-Mulawwah, his love for Layla Al-Ameriya, and the sweet poems he composed about her, which were recited by lovers after him time and time again to express their feelings.This great poet was described as Majnun Layla for his infatuation with her and his devotion to her despite her being forced to marry someone else.&nbsp;One of the most beautiful poems by Qays ibn Al-Mulawwah is his famous poem, "Al Mu'nasa." We at Ithraeyat are pleased to present it to you in this unique and collaborative artwork, the result of collaboration between artist Obaid Ba Humaid and calligrapher Mohammed Al Salhani. Together, they created a stunning artwork that brings together the two symbols of love, Qays and Layla, with the poem "Al Mu'nasa" at its center.Initially, the artist Obaid intended to paint an Arab woman wearing a veil decorated with floral motifs resembling the style of ancient Islamic miniatures. Then, his friend, the calligrapher Mohammed, noticed the exaggerated lengthening of the henna drawing on the woman's fingers, as henna was usually applied only to the fingertips. Obaid expressed his surprise and said, "By doing this are you referencing Layla Al-Ameriya, when Qays sang about her, saying:

And when we met on the slopes of Ramah, I found the palms of Al Amiriya red. I said, "Did your palms turn dyed after our separation?" She said, "God forbid! That never happened. But when I found you gone, I wept blood until I soaked the ground with it. I wiped my tears with the tips of my fingers. And it became dye in my hands, as you can see."

Obaid came up with the idea of creating an imaginary representation of the two characters, Layla and her madman Qays, each on a separate sheet of paper, and writing the verses describing the henna scene between the two drawings to form the link that connects them. Just as poetry was the means by which lovers communicated in the past, it became the bridge that connects the two separate drawings.Mohammed wrote the seventy two verses in full on refined and aged paper in Naskh and Riqa' scripts. The poem is in the middle, with Qays and Layla to its right and left.&nbsp;Although the lovers' love did not end happily, they left us an immortal legacy of poems and stories that are timeless and sung by lovers to this day.

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A Timeless Story of Love — Layla and Majnun

In the early 20th century, Surrealism emerged as a reaction to the changes brought about by World War I. It was an artistic and literary movement that challenged reason and reality and questioned everything conventional.&nbsp;Influenced by psychological ideas that sought a deeper understanding of the subconscious, dreams, and profound human emotions, the Surrealists used unconventional methods to express their ideas. They pursued symbolism and blended reality with the imaginary, transforming bizarre scenes into mirrors that reflect the hidden depths of the soul.&nbsp;Observing their paintings, one feels as if they are scenes plucked from tumultuous dreams. Playful colors, melting details, contrasting sizes, eyes leaping from their sockets, bodies floating on the surface of the water or falling from the sky, a sea in bed, and a city peeking out from the table—nothing limits the imagination in the world of Surrealism.In Saudi Arabia, despite the newness of the visual arts experience compared to international schools, our own home-grown talents have embodied the spirit of surrealism as well.Using popular symbols that appear in dreamy scenes, visual formations that scream the language of surrealism, and familiar images that blend &nbsp;with the imaginary, names have emerged that succeed in employing surrealism with a local flair: Dia Aziz Dia, Khalil Hassan Khalil, Abdul Hamid Al-Baqshi, Abdul Azim Shali, Taha Sabban, and several others.&nbsp;These artists, each in their own way, have created bridges between consciousness and unconsciousness, between wakefulness and dreams, and between what we see and what we imagine.

Surrealism: Unimaginable Realms

In art, there is a thin, invisible line separating reality from imagination, between what we see and what we feel without seeing it. Art, like imagination, is not an escape from the rigors of the daily and the repetitive, but rather a means of seeing details differently, a tool for exploring the familiar and the ordinary, and a way to reframe the world in a more real and humane way.&nbsp;When imagination intersects with artwork, doors open to infinite possibilities, where reality intertwines with dreams and history with desire. In a world that tends toward the specific and the classified, imagination grants art its freedom, making room for contemplation and multiple readings. Here, we take you on a journey in which we don't know whether imagination preceded art (or vice versa) but at some point, the two blended. So prepare to be amazed at some unforgettable works!&nbsp;

Brazilian artist Roger Mattos, based in São Paulo, transforms emotion into image, silence into story, and memories into poetic scenes. During a difficult time in his life, he founded his page <a href="https://www.instagram.com/linearcollages?igsh=dnFrdXVlejUwN20=" target="_blank" rel="noopener noreferrer">@linearcollages</a>, through which he later found his passion, his path to healing, and human connection.Digital collage and illustrations have been his tools for constructing inner worlds where dreams intersect with contemplation, transforming his feelings into artworks that connect him to the world. For Mattos, art is a place where he begins to understand the world and himself. He said, "It is my means of expressing feelings that are difficult to describe in words. I see it as a space that connects contemplation, sensation, and inner communication."Imagination plays a fundamental role in his work as a means of deeper understanding. He said, “I find my work based on evoking emotion and memory, inspired by dreams, nostalgia, and silent yet profound human experiences. I use imagination not as an escape from reality, but as a means of delving into its emotional core. Through collage, I construct visual narratives that seem deeply personal, yet remain open to multiple interpretations, depending on who sees them.”Although his works are digital, they leave a handcrafted impression that combines warmth and sincerity. They are also characterized by their calm colors and compositions that convey a sense of spaciousness, leaving the viewer with space for contemplation, and most importantly, they give the viewer the opportunity to imagine.

Roger Mattos

Enjoy Roger Mattos's amazing work <a href="https://www.instagram.com/linearcollages?igsh=dnFrdXVlejUwN20=" target="_blank" rel="noopener noreferrer">here</a>.

From RGR Galleries:&nbsp;&nbsp;

We are pleased to announce a new collaboration with RGR Galleries and Espace, showcasing distinctive artworks by creative artists from their collections.

&nbsp;“In my work, I focus on the theme of identity; that is, what is identity? And how is the state constructed through its culture?” Mexican artist Francisco Muñoz presents his artwork using various media, including painting, collage, ceramics, and textiles, focusing on the relationship between objects and their contexts, and how their meaning changes when the environment, material, or composition changes, creatively combining what is original with what is acquired.Art is Muñoz's means of understanding identity and roots, building bridges between history, heritage, and modernity. He poses questions and explores his vision of identity, culture, and historical narratives in a contemporary style that aligns with today's language, blends fantasy and reality, and invites contemplation. &nbsp;His work draws inspiration from pre-Columbian symbols, ritual architecture, archaeological murals, and the interconnected relationship between nature and the spirit.At the heart of his creative project lie questions about identity, culture, and historical narratives, as Muñoz reframes symbols and legacies into contemporary compositions that pulsate with memory and belonging. He said, "Just as shamans abstracted the natural environment, atmospheric elements, and spiritual forms to embody deities, I reframe the aesthetic experiences, ancestral spirits, and sacred places that come to life in the statues and paintings of my artwork."

Francisco Muñoz

An artist who excels in his work with color, perception, and multiple forms, black and white are integral parts of his paintings, considering them "additive colors" that enhance the vibrancy of color vibrations in his works.He said, "I created a list of digital codes, wondering which code would be best controlled in the visual arts. I immediately thought of colour, choosing three primary colours: blue, red, and yellow. With their complementary colours, the total became six colors, to which I added black and white."In his works, the artist succeeds in deconstructing the rigidity of form, transforming geometry into a changing perceptual space, where colours, lines, and movement interact to create an ever-changing sensory experience.&nbsp;“What I offer is not just a fleeting visual game, but rather a serious invitation to train the eye to develop its perception beyond the retina and into the depths of the soul,” he said.

Jesús Rafael Soto

From Espace Exhibition: 

&nbsp;Manuscripts in the Indian, Islamic, Buddhist, and ancient Egyptian traditions are a source of inspiration for Indian artist Manjunath Kamath.Kamath presents imaginative works in which language is used as a mysterious element that invites contemplation, imagination, and deconstruction; just as if we were facing an ancient and mysterious manuscript that challenges the boundaries of our knowledge.In his paintings, the unknown intertwines with the known, and language with form, creating a space where symbols transform into living beings; a space that invites us not to understand, but to be amazed. &nbsp;

Manjunath Kamat

&nbsp;American artist Waswo X. Waswo presents aesthetic works that explore the aesthetics of illusion and deconstruct the symbolism of the sung paradise.Based in Udaipur, India, his works are heavily influenced by Mughal and Rajasthani miniature art, taking the viewer on a fascinating journey that reinterprets history, colonialism, and contemporary identities.&nbsp;Waswo appears in his works as the stumbling "fedora man," a contemplative stranger, simultaneously observed and contained by Indian eyes.His work, "The Oasis Inside the Mirage," captures the image of the oasis as he imagines it: perfect and serene, with everything as it should be, yet always distant and unreachable; like a longed-for dream, a mirage looming in the deserts of this world. "Only in art can we imagine it," said Waswo. &nbsp;

Waswo X. Waswo

Artistic Expressions: Art Reshapes the World

We were designing and building a new concept that was breaking new grounds in the cultural arena. Therefore, the Ithra building had to be strong, it had to have a presence,

For anyone living or visiting the Eastern Province of Saudi Arabia, there is one landmark that stands out from amongst all others: The King Abdulaziz Center for World Culture.With its majestic height and width and its distinct metallic reflective features with impressive cloaks of twisted pipes — a nod towards the oil pipes that are the bloodlines of the nation — this futuristic spaceship of a building “landed” in 2018, and has been expanding its cultural, educational and community influence inside and beyond its walls ever since.Ithra (which means “enrichment” in Arabic) was built as part of Saudi Aramco’s corporate social responsibility, an ambitious vision for the public and an investment in the people. Ithra is the Kingdom’s leading cultural and creative destination with profound cross-cultural experiences and events that shape its visitors and its creatives.An international architectural competition was held to design the building, and submissions included concepts by greats like the late iconic Iraqi British architect Zaha Hadid, but ultimately the design submitted by the renowned Norwegian firm Snøhetta was chosen. &nbsp;It took over ten years to complete the building — a striking architectural metaphor for unity, envisioned as a cluster of interlocking stones inspired by the location’s geology.

Beyond its bold silhouette, the structure embodies a profound dialogue with time: its soaring tower reaches toward the future, the ground-level spaces engage with the present, and the subterranean elements safeguard the past. Every layer of this visionary landmark tells a story, blending symbolism with innovation in a way that feels both timeless and utterly futuristic.Ithraeyat has had the privilege to sit with one of the original architectural team members of Snøhetta who was visiting Ithra for the second time since its opening, Ms. Eli Synnevåg, Director of Acquisition and Business Development Middle East &amp; Africa, and Senior Architect MNAL.

“The design was envisioned as a mirage in the desert—a bold architectural statement with the power to embody and propel a cultural vision and program,” she said.She has a particular fondness for the Great Hall, Ithra’s plaza and its ‘rammed earth’ wall — a traditional technique that combines un-cemented dirt, gravel and clay that is watered and then compressed into a structural form. “These were areas I was closely involved with and felt deeply connected to throughout the design process.”To design something of this importance, it takes grit, imagination and perseverance, and here we find out more about the story behind Ithra’s building through Eli’s own words.

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The project ran over almost 10 years and is the result of a collaborative effort by a large interdisciplinary team from Snøhetta, working closely with many skilled collaborators as well as regional and local teams. Initially, around seven architects worked on the design competition phase. As the project progressed, the team expanded to over 60 architects during the later stages of development. In addition to the core architectural team, we collaborated with engineers and specialists from around the world, bringing together a truly global network of expertise to realize the vision. &nbsp;

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Q1. Can you tell us who were the people involved in the design of Ithra’s building?

We had many and deep conversations in the beginning of the competition, with the understanding of culture being the premise of this visionary project. Developing a concept embracing both unity, diversity and interdependence.The concept was inspired by the natural geology of the Saudi landscape—particularly the smooth, wind-shaped rock formations found in the Dhahran desert. From the beginning, we saw these natural forms as powerful metaphors for the accumulation of culture over time.In essence, Ithra tells a story of transformation—rooted in the landscape, shaped by time, and propelled by shared cultural momentum into the future.Like a Roman arch, where the keystone holds the construction together, the rocks are imagined as pebbles seemingly frozen in time—symbolizing how culture is not composed of isolated efforts, but rather of interconnected ideas and disciplines that support and depend on one another. Each rock houses a different program—library, theater, museum, cinema, and exhibition hall—forming a unified cultural landscape. The arch-like composition reflects the idea of cultural interdependency and collective strength.&nbsp;This concept is also expressed through a timeline embedded in the building’s very form. Part of the structure is anchored deep into the bedrock—symbolizing history and the past—while other elements stretch skyward, pointing toward the future. The building’s layered architectural language reinforces the idea that contemporary culture must grow out of history to shape what lies ahead.Architecturally and conceptually, the design delves into history even as it aspires toward the future, creating a powerful dialogue between tradition and innovation.

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Q2. How did Snøhetta conceive the idea of the rocks and what is the story behind the design concept and its goals?

The initial design proposed a different architectural solution. However, as the area surrounding what we called “The Source” evolved, we chose to simplify the structure framing this central space.These sculptural timber elements were designed to create a sense of warmth, movement, and craftsmanship within the monumental steel and stone-like architecture. While the exterior speaks to geology and permanence, the interior—especially through these wooden forms—evokes human scale, tradition, and craft. The ship-like reference connects to themes of journey, exploration, and knowledge—perfect for a space dedicated to learning and cultural exchange.The twisting effect wasn't done through literal bending of massive timber beams after fabrication. Instead, the structure was achieved through a highly engineered process involving laminated wood (glulam), where multiple thin layers of timber are glued together in molds to form precise, curved shapes. This technique allowed us and our collaborators to create complex, flowing geometries that appear seamless and sculptural—without compromising structural integrity. The twisting forms were first digitally modeled, then carefully fabricated off-site, and finally assembled with incredible precision on-site.By introducing a subtle twist to the form, we not only enhanced the spatial experience but also improved the structural integrity of the design.&nbsp;

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Q3. We see people fascinated by the wooden twisted beams inside, it feels like the inside of a big ship. What is the story behind these marvelous twisted beams?

We engaged in extensive discussions about the façade and how best to clad the building’s organically shaped volumes—referred to as the “pebbles.” Several material directions were explored, including stone and concrete panels. However, in our search for a more natural and expressive solution, we developed a concept inspired by the unique patterns of a fingerprint—radiating outward from a central opening.This approach led to a cladding system composed of pipes, which wrap around the volumes like contour lines. These pipes serve as a sculptural skin layered over a more conventional, waterproof structural wall, combining visual identity with functional performance.At first glance, using stainless steel to clad a building in the harsh, sun-drenched climate of Dhahran might seem surprising. But the decision was both aesthetic and highly strategic, blending symbolism, durability, and advanced engineering.Although metal heats up quickly, the tubular design of the cladding plays an important role in managing solar gain. The steel pipes are spaced off the actual building envelope, creating a ventilated façade that helps dissipate heat and reduce direct solar impact on the structure beneath. &nbsp;Stainless steel is incredibly resistant to corrosion, which is critical in Dhahran's salty, humid coastal environment. Unlike painted or porous materials, it can withstand decades of exposure without fading or deteriorating, reducing long-term maintenance.The brushed stainless steel tubes were custom-fabricated and installed with exacting accuracy by a German engineering firm, chosen for their expertise in complex cladding systems.

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Q4. The construction of the building was a group effort, with the remarkable steel pipes of the stainless steel skin done by a German company (Seele GmbH). Can you tell us more about why it was decided to have the building clad in steel given the heat?

When I look at Ithra today, I see much more than just a building—I see a powerful symbol of cultural dialogue and transformation. More than architecture, Ithra represents a living ecosystem of knowledge, art, and community. It is a vibrant cultural complex—alive with diverse programs and activities—that resonates far beyond its physical location, becoming a beacon of creativity and connection.

Q5. When you look at Ithra today, what do you see?

We wanted Ithra to feel like a beacon of the future, a place of transformation and innovation emerging from ancient landscapes.At the same time, beneath that futuristic exterior lies a deep connection to the earth—anchored in the region’s geology, culture, and history. So while it might look like a spaceship, it’s really a bridge between tradition and tomorrow, carrying knowledge, culture, and creativity forward.&nbsp;In that sense, the “spaceship” nickname is a great compliment. &nbsp;

Q6. Most call this building a spaceship, what do you think of that comment?

We thank Eli for her insights and for telling us yet another side of Ithra’s story.&nbsp;And indeed, as Ithra the building, and Ithra the idea and the project continues to grow, its story and its impact on the community and the world continues to evolve, leaving a fingerprint on all those who visit it.&nbsp;Enjoy exploring more of Ithra design collection:&nbsp;

A Unique Fingerprint In the Desert: The Story of Ithra’s Building 

The roots of science fiction go back to myths that attempted to explain cosmic phenomena aesthetically, based on the perception of natural forces as conflicting mythical forces, intertwined in their control of the destinies and fates of life and beings. With the development of scientific knowledge and the means of exploration and research, multiple beliefs declined in favor of scientific explanations. Yet, cultures never abandoned their myths, which were rich in life experiences that revealed the human soul, and all its fears and desires, its pains and hopes. Throughout the ages, the literary world has reproduced these myths in new forms that suit emerging conditions.With the advent of the magical screen of cinema, it became possible to embody those myths through moving pictures. Imagination became able to transcend words, drawings, and inanimate statues. Historical texts blended with mythology to produce films that deeply attracted people, entertained them, and even relayed morals and messages to them.. &nbsp;

Because science fiction is closely related to the myths of the past while always looking at the future through a lens of scientific revolution, it has been a major field of the film industry since its inception. The first science fiction film was the French film (Le Voyage dans la Lune) in 1912. Interest in this genre, both in production and viewing, increased with the development of cinematic techniques and the industry's interaction with modern culture and technological advancements. &nbsp;Joseph Campbell once said, "Myth is a symbolic story that leads us to experience the deeper meaning of life. Science fiction, on the other hand, is an insight into the possible, raising questions about the fate of man in the face of technological progress." Meanwhile Mircea Eliade, a philosopher specializing in myths, said, "Modern man thinks in terms of science, feels in terms of myth, and needs symbolic rituals to understand his place in the world."&nbsp;Science fiction achieves this duality, with events based on scientific possibilities while borrowing mythical themes of supernatural action, heroism, life and death.Myth gives science fiction symbolic dimensions that lend an existential vision to technological development. It links the future to a rich human heritage, by placing it within the context of constructing cultural identities that express people's hopes and fears, on the one hand, and raising the potential problems of conflict between man and machine on the other.&nbsp; &nbsp;

Science fiction films have not only raised scientific and futuristic issues, but have also repurposed mythical archetypes such as the chosen hero, prophecy, the great journey, death and resurrection, and the afterlife. These archetypes reside in the collective unconscious and appear in artistic narratives regardless of how times and knowledge change, as Carl Jung theorized. Among these films:● The Star Wars series: It contains a call to adventure, crossing the threshold, and the hero facing the great ordeal, then triumphing with science. This structure is clearly restored in Luke Skywalker’s victory over the dark side, using spiritual energy close to Eastern concepts such as the Tao and Prana doctrines, which call for a return to nature.&nbsp;● Star Trek, the most famous and one of the longest-running science fiction series in cinema and television. It began as a television series and then moved to the world of cinema and video games. Its events take place in the twenty-third century. The United Federation of Planets is an organization that confronts the forces of cosmic evil. Its heroes are spaceship crews of mixed heritages and races, unified by a sense of science and discovery to persevere against any challenge they face..● The Matrix series: The legendary hero Neo and a group of humans with mythical superpowers go on adventures against the evils of intelligent machines that enslave humans. Chock-full of symbolism related to &nbsp;the choice between illusion and reality, fate and free will, and a critique of the consumer culture that led to the dominance of technology.

● Dune: Drawing on science fiction and the horizons of research, exploration, and access that science produces, this film blends a scientific environment with the religious concept of a savior (similar to the Messiah in Christianity, or the awaited Mahdi in Islam).● Interstellar: An astronaut crosses the darkness (a black hole) and returns with a new vision of the world; just as in mythology, where the underworld is the arena of transformations. Scientific concepts such as gravity and relativity are used as a counterpart to death and rebirth.● Her: The film Her delves into the philosophical aspects of the machine, and does not stop at the dangers, but rather penetrates the machine’s feelings and memory. Does the machine have a position towards memory, and can it love and hate?● Arrival: The Female as a Mythical Icon: The heroine, Louise, undergoes a time-traveling experience that transforms her consciousness, making her wise and capable of making better choices. Metaphysical cards are explained with imaginative scientific logic.● Downsizing: This film addresses the issues of human needs and resource scarcity, and imagines a solution to them by reducing the size of humans and creatures, so that humans would be less costly to the ecosystem, and consume less food and water, which would reduce conflicts and wars that arise from monopolization and fear of poverty and destitution.● Moon: Perhaps one of the most important science fiction films, it raises the issue of identity and its connection to will. It is considered one of the most critical films of intellectual cloning, because the dignity of existence is linked to freedom of choice and will.

Science fiction cinema is a major field of multifaceted artistic expression. It has become an alternative to myths that express the existential anxieties of humanity, without changing the basic themes of human drama. This is because human emotions, physical needs, and the nature of human composition and structure remain the same, regardless of the development of knowledge and technology.Science fiction films have only gained attention from Arab film production companies over the past decade, with a handful of timid experiments emerging, encouraged in the Gulf countries, particularly Saudi Arabia and the United Arab Emirates. These include the Saudi short film "Arabian Alien" (2020) and the Emirati film "Worthy" (2016). The prospects for growing interest among new generations in this genre are promising, in line with official plans to foster scientific and technological interests.

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Cinema between Myths and Science Fiction

Every person has their very own world of imagination, but none so creative and massive and wild as that borne of the mind of a child. Theirs is a special world, where they talk to friends we cannot see, and build houses of pillows with bridges under which volcanoes and rivers pass.Ithraeyat team met with guest of honor, Korean author Han Dam-hee, during her participation in the book fair, which was part of Ithra Children’s Festival. Han is known for her works that take place in imaginary worlds, capturing warm and touching moments, using digital tools as a primary means to create visual images that exude poetic beauty and delicate emotional touches. In 2025, her picture book "Uncle Star" won the prestigious BolognaRagazzi Award in the multimedia category, making her the first Asian artist to win this honor.&nbsp;The picture book "Hang The Elephant," written by Park Jun-hee and illustrated by Han Dam-hee, was also selected for inclusion in the first-grade curriculum in South Korea in 2024, providing her with a deeper opportunity to connect with young readers. We had an inspiring conversation with her about imagination in children's literature and the motivations that led her to choose this creative path. &nbsp;

The author emphasized the vital role of imagination in children's lives, serving as a bridge to their dreams and nurturing their inner world. Han Dam-hee expressed her vision by saying, "Imagination, for me, is being free." She also shared her inspiration for choosing to write children's books, saying, "My family and I grew up in a small village where access to television and the internet was very limited, but we had many books, and I would spend my time drawing pictures. This gave me a sense of freedom, and I realized that drawing and writing for children was what would bring me happiness."She also noted that her favorite childhood book was Ivan Tsarevich and the Storm Demon, due to its magical imagination that captured her young imagination. For her part, Woo-hyun Ok, CEO of Dreaming Kite Publishing, expressed her deep joy in publishing children's books, emphasizing that this mission gives her a sense of meaning and joy, as it provides an opportunity to positively impact the lives of children and encourage them to love reading.&nbsp;The Ithraeyat team met with the Chargé d'Affaires of the Korean Embassy, H.E. Moon Byung Jun, who expressed his deep gratitude for this distinguished cultural cooperation, which provided an opportunity for Korean authors to participate in a unique experience that strengthens the bridges of cultural exchange between the two countries.

As part of the Children's Festival, <a href="https://www.ithra.com/en" target="_blank" rel="noopener noreferrer">Ithra</a> Center organized an interactive activity for children titled "Ajeeb in Wonderland." During this activity, children listened to an adventure story about "Ajeeb," a character who sets out on a journey in search of his family. Along the way, he encounters various characters who describe his appearance in different ways.Here, the child's role is to imagine what "Ajeeb" looks like, draw his features, and then shape him using a variety of materials provided in the workshop.&nbsp;In this activity, we witnessed many amazing creations and imaginative representations through which the children expressed their own vision of this character.Now we leave you with the creativity of our little ones who participated in imagining the character "Ajeeb":

Children's Corner — A Wonder in the World of Wonders

The future is created by the collective imagination of people. Curiosity deepens our understanding of the world and leads to creativity. And I believe it is imagination that determines the direction of that creativity. 


Step into a wonderland where art defies boundaries and imagination comes alive at&nbsp;<a href="https://www.teamlab.art/e/jeddah/" target="_blank" rel="noopener noreferrer">teamLab Borderless in Jeddah</a>, a mesmerizing digital wonderland in the heart of Jeddah’s Historic District.&nbsp;

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This permanent exhibition that opened in June 2024 transforms Culture Square into a symphony of imagination, light, motion, and interactivity, where flowers bloom at your touch, waterfalls cascade over invisible walls, and galaxies swirl beneath your feet.&nbsp; As part of the acclaimed teamLab collective—renowned for blending technology, nature, and human connection—this immersive experience invites you to wander through borderless realms, where every step reshapes the art around you.Whether you’re chasing radiant butterflies through a digital oasis or watching calligraphy morph into living creatures, teamLab Borderless Jeddah isn’t just an exhibit, it’s a journey into the future of perception.

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“teamLab is a collective that seeks to change humanity’s sense of values through the creation of artworks,” said Takashi Kudo, Communications Director at teamlab Borderless. “We create artworks as a team, based on what we truly believe in. I think teamLab is made up of people who find meaning in working not individually, but as a team.”&nbsp;TeamLab is an international art collective founded in 2001 that explores the intersection of art, science, technology, and the natural world all through the lens of collaborative creation. The interdisciplinary group consists of specialists from various fields including artists, programmers, engineers, CG animators, mathematicians, and architects.

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“What I think also truly contributes to what makes teamLab Borderless itself special is the unique charm of the city of Jeddah itself,” said Kudo. “Jeddah is one of the leading global cities in the Middle East with a profound history and rich culture. We are very honored to be able to open teamLab Borderless in Jeddah Historic District, a UNESCO World Heritage Site. This time, we have been able to launch teamLab Borderless on a monumental scale, with truly beautiful architecture in this wonderful location.”Kudo was born in Tokyo in 1977, grew up in Abu Dhabi and graduated from Waseda University in 2000 with a B.A. in Literature and Philosophy. After working as the Editor in Chief for a video game magazine in Stockholm for four years, he returned to Japan to join teamLab.

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“Through our artworks, teamLab aims to explore the relationship between humans and the world, seeking to transcend boundaries in our perception. We believe that people tend to separate the world into independent entities with perceived boundaries, and our work challenges this by emphasizing that everything exists in a ‘long, fragile yet miraculous, borderless continuity.’”TeamLab has held exhibitions worldwide in cities including New York, London, Paris, Singapore, Beijing, and Melbourne⁠. We've established several permanent museums and large-scale exhibitions, including teamLab Borderless and teamLab Planets in Tokyo, teamLab SuperNature in Macao, teamLab Borderless in Jeddah, teamLab Phenomena in Abu Dhabi, with more planned for cities like Kyoto and Hamburg⁠⁠.&nbsp;Plan your visit to this wonderful place in Jeddah. &nbsp;Don’t just witness art, become part of it.Find out more <a href="https://www.teamlab.art/e/jeddah/" target="_blank" rel="noopener noreferrer">here</a>.Enjoy the discovery!&nbsp; &nbsp;

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teamLab Borderless Jeddah: Where Imagination Becomes Art

Imagination is a window on the possible, it transforms silence into images, it gives voice to interior landscapes. 

Every artwork is like a bedtime story. Mesmerizing, dream-like and full of emotion and heart.&nbsp;Here we have the great honor to feature the brilliant creative works of the renowned Toni Demuro, an Italian illustrator and visual artist from Sardinia. He earned a degree in Painting from the Academy of Fine Arts in Sassari, developing a poetic and minimalist style known for its dreamlike atmosphere, symbolic use of nature, and refined color palette.His illustrations have included award-winning book covers and picture books for major international clients such as The New York Times, The Washington Post, Penguin Books, Vanity Fair, Corriere della Sera, and Mondadori.&nbsp;Alongside his editorial work, he has designed posters for jazz festivals, literary events, and cultural gatherings, combining visual storytelling with a distinctive graphic sensibility.His work stands out for its ability to convey emotion and imagination with both simplicity &nbsp;and depth. The shadows are so pervasive and all-encompassing that any objects of light stand out in stark glowing relief. The mysterious characters, the background and foreground dancing in concert with each other, the hidden symbols, and the surreal-ness of it all invites the viewer to not just witness, but to imagine and to play with what they’re seeing.Enjoy meeting Toni in an exclusive interview with Ithraeyat, and we find out the story behind these beautiful creations.&nbsp; &nbsp;

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Imagination is a window on the possible, it transforms silence into images, and it gives voice to interior landscapes. When I draw, I do not try to reproduce reality, but to evoke an emotion, a dream, a memory that belongs to everyone. &nbsp;

Q1. What does “imagination” mean to you? 

I began to express myself with art since I was a child: at the age of six I received a canvas and oil colors. My first painting was a parrot in the forest. I studied pictorial decoration at the Art Institute and then painting at the Academy of Fine Arts in Sassari, my hometown. In 2000 I opened an artistic ceramics laboratory, an experience that enriched my relationship with matter and color. Only in 2010 did I begin to dedicate myself to illustration: thanks to a blog and social networks I was able to show my work and make myself known, starting a new chapter in my artistic journey.&nbsp;

Q2. Tell us about your journey with art?

For me, art is an intimate language, the most direct way I have to tell what I see and feel. It is observation, but also interpretation: a way to stop time, give shape to thoughts and inhabit emotions. It is not only technique, it is also attention, silence, gaze. It is part of my way of being in the world.&nbsp;

Q3. What does art mean to you?

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&nbsp;Inspiration often comes from what surrounds me: nature, literature, music. I am struck by the atmospheres, the silences, the details that tell more than words. Among my role models are artists such as René Magritte, Lorenzo Mattotti, Jean-Michel Folon. I always try to build images that have their own voice, suspended and recognizable, that can touch something deeply. &nbsp; &nbsp;

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Q4. You have a very unique style; what inspires you and who are your role models?

The character that appears in my illustrations is a silent and discreet presence, invisible to people's eyes. He represents a guardian of nature: he walks slowly through woods, hills and rivers without ever causing harm. Indeed, his figure seems to merge with the landscape, as if he were part of it, and he carefully watches over both the environment and those who cross it. He is not a threat, but a protective presence that recalls the importance of balance and respect between man and nature. In a world that runs fast and often ignores what surrounds it, this giant invites us to slow down, to look carefully and to take care. &nbsp;

Q5.  Does the main shadow character represent anything specific?

I would describe my art as a meeting between reality and dream, a way to explore the boundary between what we see and what we feel. I try to create images that tell silent stories, made of details and suspended atmospheres. My work comes from the careful observation of nature and introspection, and develops through a simple but evocative visual language.&nbsp;

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