Ithraeyat_Doors_23_English.pdf

“The youth of today are not just the leaders of tomorrow; they are the architects of our future…”

Engaging the youth and inspiring them to find their own unique voice has been one of Ithra's great missions. This is embodied in one of its unique programs, ‘Summer Youth Camp,’ which empowers the youth by introducing them to the multifaceted aspects of the cultural and creative industries.The Youth Camp's vision is to create a promising environment that deepens youth engagement in the cultural industry, in line with the 2023 vision.<a href="https://ithraeyat.ithra.com" target="_blank" rel="noopener noreferrer">Ithraeyat</a> participated in the Youth Camp’s 2024 program and introduced the youth to its mission, which is “to publish original, cultural, and creative Saudi-inspired content with an expansive global outlook to inspire cross-cultural dialogue and engage the public as well as artists and art enthusiasts.”With over 20 participants, during the session, it was discovered that many of the youth include ‘content creation,’ as well as sports and chess amongst their habits and how they spend their free time. This is great news, as the world always needs original storytelling, especially those who combine it with a healthy lifestyle.

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The Art of Storytelling

Focusing on skills such as analytical, creative thinking, social and collaborative, the youth are immersed in a unique and enriching summer program of experiences such as meeting experts, field trips, group projects, exhibitions, performances and hands-on experience working within a context directly related to their personal interests while also introducing them to new and sometimes disruptive ideas.The program seeks to enhance each participant’s ability to combine theoretical knowledge with technical know-how to form future professional skills and give them experience networking within the framework of the creative and cultural industries.To maintain a sustainable educational environment, the program continues to hold regular monthly meetings, ensuring the sustainability of a safe and reliable space for everything and contributing to the growth and development of the current annual youth group and those of previous years. Many of these meetings often retain the character of the main summer program, including open discussions, artistic critiques, curious questions, and youth-oriented dialogues prepared by both mentors and participants alike. Furthermore, it continues offering various workshops, experiential learning opportunities, and some field trips to coincide with specific seasonal times.To find out more about the Summer Youth Camp, please check Ithra's website <a href="https://www.ithra.com/en/programme/2024/summer-youth-program" target="_blank" rel="noopener noreferrer">here</a>.

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Immersive Experiences

Participants of Youth Camp being creative with Ithraeyat

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Opening Doors for Youth

Whether traditional or modern, large or small, sturdy or flimsy, a door can be a simple, plain object with no distinctions or one that highlights your identity with many personalized decorations.&nbsp;

The front door can also capture elements of your history, the story of your home and the country you are from, and even what you may be celebrating currently; a birthday, a graduation, or even a religious holiday.&nbsp;

The door is both a storyteller and a keeper of secrets.

In this special edition of Ithraeyat, we pay homage to ‘doors’, as over the four years of this publication, which was born in COVID-19 when all doors were closed in lockdowns, the magazine helped open doors of possibilities for creatives, artists, and writers — building new bridges of cross-cultural dialogue, art, and inspirational storytelling.In this edition, we reflect on the philosophical meaning of doors and the various artists who found inspiration in these gates to various pathways, such as the godfather of Emirati art, Abdul Qader Al Rais, whose colorful nostalgic art graces our cover for its 23rd edition. When one door opens, it can open many other doors.

We meet Timothy Verdon, Director of Museo dell'Opera del Duomo in Florence, Italy, and discover one of the world’s oldest doors, ‘The Gates of Paradise,’ which are said to have been bestowed their title by one of history’s greatest artists, the legendary Michelangelo, who said: “They’re so beautiful they would grace the entrance to paradise.”Like the many colors found in nature, we feature colorful unique voices, from important cultural figures to artists and photographers, as well as writers and poets, each sharing their creations and stories with us to reflect on, and inspire us to think outside the typical door.&nbsp;&nbsp;

In an earlier age, before streets had names and buildings had numbers, the front door was the best way to identify someone's home. Each one had its own marks and designs. Some were floral or geometric, while others had heart-shaped figures or traditional items such as a coffee pot or dallah. One popular design that owes its origins to local traditions is a circle carved within a rhomboid geometric shape, known as the "Ain Al Hasoud" (eye of envy), which is said to offer protection against the evil eye.Doors were often smaller than those of today, said to force people to ‘bend in humility’ when entering a home. Some mosques and schools had smaller doors for this very same reason.

Pause for a moment and look at the door to your home. What does it represent? Does it have a distinct feature to set it apart from others? &nbsp;We thank you for joining us on this journey of pathways of possibilities, and we hope it opens doors for you and inspires you to open doors for others. &nbsp;We hope you enjoy this latest ‘makhzan’— storehouse — of enriching and &nbsp;unique stories

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When One Closes, Another Opens  

If the doors of perception were cleansed, man would see everything as it is, infinite.


Great ventures often start with contemplation, and in the beginning of his career Dr. Saeed Alwayel regularly pondered how much of man is bound to that which protects him from the hubbub of the world, provides shelter, and serves as an entryway to his safe personal space. Dr. Saeed set out to study doors closely in the eastern regions of the Arabian Peninsula, examining their designs, ornamentation and development over time, as well as the influence of the Islamic culture upon their profile, and that of other cultures that engaged in commerce with the region. To learn about doors, the development of their craft on the east coast, their traditional designs and inherent meanings, and the relationship between functionality and aesthetics in traditional craftsmanship we interviewed Dr. Saeed who has become a great expert on the subject, publishing five books about doors, ornamentations and design elements, and is on the cusp of publishing two major works concerning doors and a dictionary of colloquial terms used by traditional craftsmen across Arabia. He is an artist and painter who dedicated more than four decades of his life to document urban heritage and study the elements of traditional craftsmanship. He began by focusing on Al-Hasa and the eastern coast and collaborated with the Centre for Popular Heritage in Doha (1982 – 2005) to publish his articles and academic papers about urban craftsmanship.

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“I looked for man behind the product.”  

“I started by seeking out craftsmen, carpenters, smiths, and builders and sat down with them in their homes and workshops, and I was able to collect info that would not have been attainable otherwise. When I first began, there were other publications that showcased traditional crafts but only on the surface, mere catalogs with little or no commentary. Whereas, I wanted to hear their stories, learn about their struggles, the reasons behind their choices of tools and materials, and the hidden messages, symbolism if you will, behind the design elements.” After collaborating with the Heritage Centre in Doha, Dr. Saeed &nbsp;traveled to Sharjah, where he got to work closely with Dr. Abdessatar Azzawi - who oversaw renovating traditional areas - which allowed Dr. Saeed to examine these areas while they were intact. This first-hand exposure proved instrumental in his career and inspired him to discover the great wealth that was ripe and ready to be plucked by the keen observer. He first examined the design elements of decorative plaster work, which prompted him to notice the similarity it had with some of the ornamentations applied on doors, and thereby question the relationship they had with one another, and whether this was an aesthetic choice or a necessity that held the crafted piece together.&nbsp;

    

I set out to collect the rich features of our heritage. I felt responsible for it, and that our collected literature had a void that needed to be filled, for it needed a thorough and objective documentation of the craft of door-making.

When asked about the development of door designs and their raw materials over time, and the effect that trade routes had on the craft of door-making, Dr. Saeed said:“This is actually one of the subject areas that we were able to trace and document, and it is a factor that is more associated with the development of doors than other crafts such as decorative plaster work. Craftsmen started by using wood found in local trees such as palm trees, tamarisk and the sidr tree (also known as jujube).

“This can be traced to two time periods, the first of which is during the peak of the pearl trade in the Gulf, and the second period commenced upon the discovery of fossil fuel. Both periods have affected the craft tremendously and shaped its development, as the twilight of the first one saw craftsmen moving in from making ships to crafting doors and influencing their design elements and bringing on their seafaring language to the craft of door-making.”“Both historic moments opened our area to the world, resulting in importing sturdier and lighter wood from India and Africa, so that craftsmen could manipulate it with more ease and create uniform designs, different design profiles.”

Door makers were carpenters by profession, but it was considered the highest form of carpentry for it required tremendous skill and attention to detail. It was passed down across generations, and each family had their signature designs and special tools that made them stand out. When asked about what door makers thought of their tools, and how the development of manufacturing and shipping has affected the craft, Dr. Saeed said: “Smiths and carpenters were the best of friends, each one’s livelihood relied on the other, and each craftsman took great pride in their tools, for they were what made his work stand out and built his reputation in the market. What would seem at first glance to be a uniform design, was in fact not.

People had a feeling for good craftsmanship, and they sought after the best door makers, and those same door makers, who usually came from Al-Hasa or Qatif, moved around the east coast for work. They had their own tools, and their backgrounds meant that each had a different outlook for what a door should be as a final product. This is also true to the purpose this door would serve, and what kind of building it would be attached to.”&nbsp; “Over time, when technology inevitably developed and globalization happened, door makers also shifted their focus, and the design profiles began to match those of the rest of the world for the entire design of homes and residential buildings had also experienced a tremendous change. But what I would like to highlight is that doors did not look the way they did for the sheer aesthetic or merely as beautifying elements; each attached item was necessary for the structural integrity of the crafted piece.”

“When addressing door-making we are talking about a branch of crafted professions that had long existed in the Saudi society, especially in the Eastern Province and in Al-Hasa. But what has changed is the collected attitude toward art as an aesthetic expression as opposed to it serving a certain function without compromising the structure of the final product. It was not just something to look at and admire, it had a role and a function that it served with gusto.&nbsp; “What mattered most was the making of functional doors, but craftsmen who had the talent and ability to make impeccable products enjoyed a bigger market share and their reputations went above and beyond their local community. They traveled to other regions and left their mark and influenced the design trends in those areas.&nbsp; “In short, the craft of door-making and wood ornaments is a mixture of art and craftsmanship, but with a focus on functionality.” After decades in the field of academic research and focusing on a marginalized area that did not enjoy the spotlight that others had, Dr. Saeed spoke about his own experience, highlighting the breakthroughs he has had and how it influenced his life: “My research had a tremendous impact on my art, but not only that. I got to learn a lot about the history of craftsmanship in our region, met with highly talented door makers and craftsmen, documented whatever I stumbled on, and got to make the Arabic library richer. It makes me proud that what I have dedicated my life to is going to benefit the new generations, and that the youth are asking the right questions, paying it attention, and showing it great interest.”

Is door-making an art form? And is there a difference between craftsmanship and art?

<a href="http://Nuqta Agency helped record this interview and took photographs of Dr. Saeed right after." target="_blank" rel="noopener noreferrer">Nuqta Agency</a> helped record this interview and took photographs of Dr. Saeed right after.

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Doors of Wooden Dreams

After Rain is designed to be a multi-sensory experience that invites viewers to think about what all this art is about, and what experiencing it does to them. We not only wanted to tell the audience something through the biennale; we also wanted them to tell us something.

Rain is an event that naturally breathes renewed life into our world. The moment that follows rainfall is one of pause and reflection—the earth is rich with rainwater, the flora is covered in delicate droplets, and the sky—as well as everything else—is vibrant with that evocative scent and color of rain.&nbsp; The 2024 Diriyah Contemporary Art Biennale, After Rain, asked us to experience this illuminating moment more closely through a variety of artistic formats, perspectives, expressions, and backgrounds.&nbsp;

Organized by the Diriyah Biennale Foundation and curated by Artistic Director Ute Meta Bauer, this edition presented 177 artworks by 100 artists and groups—30 were from the Gulf region—evoking sensations of renewal, revitalization, and opening up.&nbsp; The Ithraeyat Editorial Team sat down with lead curator Ute Meta Bauer to bring you a deep dive into the journey of creating this biennale, the concept behind “After Rain” and its connection to the natural landscape of Diriyah, and some of the experiences that it offered to both its artists and visitors alike.&nbsp;

It all started with my first-ever trip to Saudi Arabia in 2018, on which I was told about the plans to create a biennale in Riyadh. I was, of course, unfamiliar with the art scene in Saudi at the time, since it wasn’t a country I visited before 2018. The proposal to curate the second edition interested me as an opportunity to inquire into what a biennale could contribute to this moment of transformation. On this trip, I did studio visits with Dana Awartani as well as Nasser Al Salem in Jeddah, where I also met Sara Abdu. I wondered about how to curate a biennale from scratch, how that can work in the Kingdom, and what is possible to show to an audience that is new to art. To me, it was driven by and born out of curiosity.&nbsp; Wejdan Reda, who was an assistant curator in the first edition and is a curator at Diriyah Biennale Foundation, has been such an insightful guiding source for me since the beginning of this project.&nbsp; She was instrumental in the process of meeting local artists of different generations across Saudi Arabia. The Diriyah Biennale Foundation was also very generous in enabling us—the curators and artists—to go on trips to different regions in the Kingdom, to visit artists’ studios and talk to a variety of people, as well as visit neighboring countries like Kuwait, Jordan, and Bahrain. My ambition was to create a biennale that not only speaks to the current moment of time but also to the art scene and through the art scene, as well as to a wider audience, who are discovering art now as part of their everyday life.&nbsp;

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Tell us more about the process of curating “After Rain.”

It’s not necessarily a theme; rather, it’s a title. After Rain is inspired by Arabic poetry, and since the Arabic language is very difficult to translate to English (and vice versa), we tried to come up with a title that the Arabic-speaking local audience—the one that the biennale is most geared towards—would resonate with. A title that encapsulates what we were trying to do with the biennale.For me, it’s very important to understand the audience and take a moment to think about what they would take with them from this biennale, and the topics we address in After Rain. When rain has just fallen, and it takes place across the world, the smell is just mesmerizing. It’s an incident that affects our biochemistry—when rain falls on dry soil, aerosols are released carrying the earthy scent called “petrichor,” which is regarded as an antidepressant. In any case, it’s a very optimistic moment, a moment of energy and hope.Worldwide, we are not in a very hopeful place. From the global climate crisis to economic issues and armed conflicts, there is a lot of suffering at the moment. But I feel such good energy when I come to the biennale site; there are so many young people who want to express themselves and their desires through art. After Rain acknowledges that the world might not be at the best place, but also that we obviously need a sense of hope and of a future.&nbsp;

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At what point, when you started this process of getting a sense of the region and its art scene, did you decide that the theme should be “After Rain”?

Diriyah is an older town than Riyadh. Today, it has the UNESCO World Heritage Site of At-Turaif—the seat of the house of Saud. It sits at the edge of Wadi Hanifa, a seasonal riverbed, and of course, it’s situated in a desert region. In every arid landscape, rain is desired. The soil literally waits for rain to fall, allowing the moment when everything pops up. Metaphorically, it’s a moment of revitalization and renewal. It’s an energy that you really feel when you’re here in Jax. As curators we were challenged but also grateful for the complex task of working with such a large number of artists, and that we could initiate such an amount of new commissions. It gives us the feeling that we were able to energize people emotionally, and with that energy, you can move mountains.&nbsp; &nbsp;

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Is there a link between what you described and the location of the biennale, JAX District in Diriyah?

The biennale was created by a curatorial team; I’m more senior, for example, as a curator and then we have mid-career and younger curators. We have all experienced different moments of time when we were studying and discovering the context and culture we live in. We undertook research trips joined by local and international artists to see Asir and Abha, in the southwestern part of Saudi, which most of us visited for the first time. It has been an incredible and exciting journey on which so much knowledge was unlocked. We were all like, “we want to share this journey with the audience.” The exhibition itself hopefully feels like a journey with us sharing what we’ve experienced while researching for this biennale.&nbsp; After Rain is designed to be a multi-sensory experience that invites viewers to think about what all this art is about, and what experiencing it does to them. We not only wanted to tell the audience something through the biennale; we also wanted them to tell us something.

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You mentioned earlier that it’s important to think about the audience and what exactly they’re going to take from the biennale. Is there a specific message you wanted to communicate to visitors? 

It’s very hard to choose any single artwork because I really love them all. It’s like asking what instruments one likes in an orchestra—a drum, a violin, or a flute—which is hard to choose as you can’t isolate one from the other in a composition. I highly recommend the biennale as a holistic journey.&nbsp; To me, all artworks in the biennale are meant to inspire people to be curious. For the newly commissioned works, we asked the local, regional, and the other participating artists to tell us what they see when they are visiting Saudi and what they want to tell the public about this place through their perspective. Also, what conversations they wish to steer. All visitors are invited to experience these artists’ perspectives, start a dialogue with the work of art, and feel free to ask questions. The biennale is meant to encourage people to talk to each other but also understand things on a more personal level. We do not want the audience to feel that they aren’t knowledgeable enough or that they are not experts in art or art history.&nbsp; &nbsp;

Can you talk about some of the works that were exhibited in the biennale? You mentioned that the biennale was meant to start new conversations and inspire people to be more curious. What were some of the works that did this more prominently? 

That one is interesting. I asked two artists, Saudi artist Ahmad Mater and Berlin-based photographer Armin Linke, to work on something together for this biennale. I thought it could be good to start a conversation about image production in Saudi. Like, what images are produced right now? What images have been produced in the past? The two artists went, for example, through the archives of Aramco and through Ahmed’s contacts; they had very generous access to the Saudi Space Agency. I didn’t know Saudi had a space program!&nbsp; They also looked up architecture that was built in the 1970s and visited the site where NEOM is constructed. So, this work is asking, what is the image that one wants to create about a place or a country? What exactly is image production? The two artists photographed together but also individually explored various sites in Saudi as well as images about Saudi Arabia featured elsewhere.&nbsp; &nbsp;

Can you talk a little about the work documenting Saudi futurism?

Yes, many, but they are not necessarily artists who have never exhibited their works before, since participating in a biennale requires you to have some experience in presenting your work. What I mean is that there were some senior artists who have a lot of experience with exhibitions but not with biennales in particular, as this is only the second edition in the Kingdom. Nabila Al-Bassam, for example, is very well-known in the Kingdom and has been running the Arab Heritage Gallery for 50 years now. She makes these beautiful architectural compositions out of tribal textiles, and her work is indeed well-known locally but maybe not yet internationally. So, the biennale intends to also offer this exposure for artists who were active since the 1960s. The idea of contemporariness is important to me. What does the contemporary mean? There are quite a number of local artists who were young and also had fresh minds in the 1970s and 1980s. They had to do their work at a time when it was not so easy to be an artist. There was no art market or the infrastructure found in Saudi today. This generation, to me, is very fresh and they are “contemporary” artists. A younger generation of artists like Sara Abdu, a Jeddah-based artist with Yemeni roots, presents works created for this biennale on a much larger scale or are newly commissioned, so of course, no one saw them before. &nbsp;

Did any new artists showcase their works for the first time?

Well, I come from a background of teaching at technological universities such as MIT in the U.S. and currently NTU in Singapore. I see AI as a techno-scientific development that we probably must live with, and like with all technology, it depends on what you make out of it. Technology is helpful to us—to a certain degree—but it also can have its downsides. It is important as AI currently develops further that we understand its complexity and impact on everyone’s life. To me, AI is an invention that can revolutionize our lives, but I wouldn’t say its impact is completely different in scale and scope from the introduction of airplanes, telephones, fax machines, or computers. Each of these “inventions” has obviously transformed how we live together and communicate with each other. But we’ll have to wait and see how AI will influence the way we live.&nbsp;&nbsp;

We’re curious to know what you as a curator think of AI in art, its effect on art, and its relevance to art today?

As we bid farewell to this year’s contemporary art biennale in Diriyah, we look forward to the new stories and experiences that the next one will bring—the same way the revitalizing moment of “After Rain” leaves us eager for the next round of rain.&nbsp;

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Finding Art After the Rain - Diriyah Contemporary Art Biennale

when doors were closed out of protection, precaution, and fear, Ithraeyat was born. It stood as a beacon of joy and inspiration, a resolute break from the somber news of the time, harnessing the transformative power of art and storytelling.Now over four years old, the magazine opened and continues to open doors for artists, writers, and creatives who find themselves on its pages. It also continues to inspire cross-cultural conversations through its various local, regional, and international partners.Here, we look back at some of the stories that broke new barriers, inspired others, and continue to resonate with the public. From royals, ministers, and ambassadors to pioneers, emerging artists, and creatives from various walks of life, they have all graced the pages of Ithraeyat and told their stories through their art.Ithraeyat is a canvas for all to paint in their unique narratives.With over 800 articles featured, it would be difficult to mention all. Therefore, here are a few who shared their art, their creativity, their motto in life, and the importance of art.

Emerging from the depths of a COVID-19 lockdown

Iconic figures have passed away since they shared their art and story with Ithraeyat, whose light will always shine beyond the pages and inside our hearts. Here, we pay homage to them as we express our eternal and deepest condolences and gratitude to them.

The Art of Legends

The late HRH Prince Badr Bin Abdulmohsin Al-Saud (1949 - 2024), the legendary poet, in his last interview, shared with us a different artistic side <a href="https://ithraeyat.ithra.com/articles/shakespeare-of-the-desert">in the edition dedicated to the 'Desert' theme.</a>

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“Art is everywhere...You can’t stop art; it will find its way to express itself...”

The late Princess Diala Arslan Talhouk (1971 -2021), author and poet, shared a timeless <a href="https://ithraeyat.ithra.com/editions/love/amin-and-najla-a-love-story">love story in the edition dedicated to the ‘Love’ theme</a>.

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“Every family has a love story they like to re-tell….”

“Trust in God, but tie up your camel….”&nbsp;A national animal is more than a symbol; it becomes a cultural ambassador, a source of inspiration for poetry, storytelling, and art. In honour of the ‘Year of the Camel,’ we look back at &nbsp;and some of the more unique,<a href="https://ithraeyat.ithra.com/editions/stereotypes/beauty-is-the-beast"> colorful camels</a> that broke <a href="https://ithraeyat.ithra.com/editions/stereotypes">stereotypes </a>and graced our pages, the <a href="https://ithraeyat.ithra.com/editions/threads/a-camel-that-launched-a-war">historical ones that even triggered battles</a>, and the kind of <a href="https://ithraeyat.ithra.com/editions/sound/camel-chants">songs and chants camels</a> inspire.

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The Art of Camel

&nbsp;It has been quite an honor to showcase a few of the artists’ artworks for the first time to an audience, be it the first time in the region or the first time ever on the cover of a magazine. Be it Indigenous or over 100 years old, or even a contemporary piece that captures an important time in history, art is one of the few timeless creations that keep us intrigued about the artist’s intention behind it and how it can mean different things to different people at different times.

The Art of Debut 

The Art of Numbers

The Art of Joy

The Art of Desert

The Art of Isolation

The Art of Sketches

The Art of Sound

&nbsp;We have featured stories, images, and art that touched the hearts and memories of our readers. These included comics feature titled “<a href="https://ithraeyat.ithra.com/editions/nostalgia/nine-decades-of-arabic-comics">Nine Decades of Arabic Comics</a>” and the regular series from <a href="https://ithraeyat.ithra.com/stories?story=16">Aramco Archives</a> that includes rare photos that capture moments in history as well as past and present objects that inspired cross-cultural conversations through our special ‘<a href="https://ithraeyat.ithra.com/stories?story=20">Bridges</a>’ section.

The Art of Nostalgia

From the Aga Khan Museum

The Art of Comics

Rarities from the Aramco Archives

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Storytelling reflections over the four years

The door serves as a dividing point between events, between here and there, between fear and hope, and between seeking and staying.

Maisa Shaldan, a Saudi visual artist with Palestinian roots, and recipient of the 2023 Misk Grant, is always working towards expressing the depth of time and its psychological and philosophical influences. Through her art, she explores cultural legacy, societal memory, and their human and environmental imprint. With a degree in Islamic studies and a master's in educational psychology counselling, she works as an educational and family counsellor too. As you observe her artistic endeavours, witnessing the metamorphosis of rusty iron scraps into intricate artworks, you're transported into a realm of experimental installations. Maisa deftly intertwines strands of sensory experimentation through interconnected metal pieces, symbolising the boundless social tapestry. Through her art, Maisa guides observers on epic journeys, delving into the depths of history by reframing tales of survival and evolution. Her works seamlessly weave together artistic beauty and profound philosophical contemplation, revealing the mysteries of time and humanity. In a fascinating interview with Ithrayeat magazine, Maisa describes her lifelong passion for art, which began in childhood. And despite her career as a counsellor, she remained devoted to art. Reflecting on her journey, she shares, "My passion for the arts led me to pursue a Visual Arts Diploma at Bexhill University in 2015, a decision I made at forty. It allowed me to temporarily step away from counselling to focus on my art studies; a fulfilling endeavour."

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Following my love for all art forms, I'm turning my talent into knowledge through art studies. This is my first step towards becoming a professional artist. 

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"The Gate of Goodness"

"THE GATE OF GOODNESS" is a piece inspired by the city of Hurghada in Egypt. Courtesy of Maisa Shaldan &nbsp;

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Maisa believes that art is not just a part of her life, it is all of her life and her way of thinking. She believes art provides answers through contemplation and considers it her path to understanding not only herself but also the world. It sustains her being, ignites her imagination, and allows her to experiment, explore, and delve into her identity. Art intertwines with her life in numerous ways, driving her constant search for new avenues to broaden her artistic horizons and evolve as an artist. She is grateful for the profound impact of art on her life. Despite life's demands, art sweeps away the dust of everyday existence, rejuvenating the soul and enabling it to face a new day. Maisa observes, "Art has the power to articulate the intricate emotions individuals harbour but struggle to voice. It offers a means of catharsis, and allows for introspection and the cultivation of keen insights into one's thoughts and feelings." Maisa's artistry thrives on innovation, as she explores unconventional mediums like metals, handcrafted paper, gypsum, and natural colours to capture the Earth's beauty. She sees these materials as authentic tools, rooted in the Earth's essence, and reflecting humanity's ancient connection with nature. Through meticulous analysis and symbolic use, her work embodies both her Saudi and Palestinian heritage, employing symbols like rust, geometric shapes, nails, rings, and intricate mental images to convey the authenticity in human thought and legacy. She further explains, "All my works prompt the viewer to interpret the transitional states between concepts, events, and objects. It's like interpreting the state or region between yes and no, between the door and what lies beyond it, between dream and hope, between dream and awakening, between solidity and flexibility, between the tangible and the intangible, between the perceived and the imperceptible, between stability and movement, between the old and the new, between the acquired and the inherited, or between everything that has passed and everything that is yet to come." &nbsp;

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Art and Life

The most beautiful thing about art is that the artist enters into a relationship with themselves, where enlightenment prevails after confrontation.

The piece titled "The Inheritor's Will," showcased at the 2023 Misk Grant Exhibition, endeavours to decode the significance behind the ornamental details and writings embellishing the historic mud-brick structures' communal spaces throughout Saudi Arabia. Maisa employed interlinked and pliable sections of oxidised iron in this composition, distinguished by their traditional motifs and adornments. Reflecting on the significance of these markings, Maisa observes, "The gypsum embellishments serve as an artistic element that has long been utilised to perpetuate and convey local customs. These inscriptions and adornments can be likened to a language, albeit one without words. Gypsum tracery adorns men's gatherings and coffee shops, gypsum tracery unveils a wealth of symbolic narratives encompassing cultural, religious, social, and economic themes, &nbsp;thereby serving as a conduit connecting cultural traditions and heritage from yesteryears to the present." This artwork serves as a testament to preserving the heritage and inherited wealth of customs and traditions, reaching the observer as they traverse through the piece.Maisa noted that during her journey working on this project, she observed that ancestors crafted two-dimensional sculptures inspired by botanical motifs, Arabic calligraphy, and geometric shapes. This departure from the three-dimensional sculptures found in Greek culture, often depicting human or animal figures, was influenced by religious considerations. It's as if they left us a testament to take from evolution what aligns with and complements our beliefs and enhances our identity. &nbsp;

The Inheritor's Will

The theme of the door as a symbol closely aligns with the artist's style, often appearing in her works through the play of transparencies and shadows, and exploring the concept of being in-between and the idea of the open door and what lies beyond. Regarding her artwork "Cocoon," Maisa explained: "I crafted this cocoon from palm fibers as a multi-sensory interactive experience. Viewers can enter and reflect or hide inside, like hiding in the womb of the earth, allowing for a moment of new beginning away from the city's hustle. The cocoon, where profound transformations occur, symbolizes this journey. Entering it feels like being embraced by the earth, and emerging from it evokes a sense of renewal.” Capturing the essence of this edition, she adds: “Essentially, my artwork features a door that opens and closes for everyone who enters"

Essentially, my artwork features a door that opens and closes for everyone who enters

The door’s secret

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The Door’s Secret – Artist Maisa Shaldan

Art is everywhere, we just have to observe it

Academic architect Omair Al-Bishi captures the essence of Saudi Arabia's architectural heritage through the lens of his evocative photography. With a particular focus on the Eastern Province, his photography chronicles the evolution of Khobar, transforming its corners and buildings into timeless works of art. Through the interplay of light and shadow, his images evoke a sense of nostalgia, capturing the essence of a bygone era.Omair is a lecturer at the College of Architecture and Planning at Imam Abdulrahman Bin Faisal University. He has a keen interest in visual arts, digital modeling, and product design. Omair believes that art is an essential aspect of an architect's life, and he traces his passion for art back to his early childhood. He says, "I grew up in a family that values various forms of art, from crafting traditional products to Arabic calligraphy and fine arts. My grandmother, may she rest in peace, was skilled in leather crafts and various palm frond products. Observing her had a subconscious impact on me, leading me to enter the field of architecture and bolstering my interest in the various arts related to this discipline."

Omair's lens captures the essence of the Eastern Province's traditional and historic homes, focusing on their ornate doors and facades. His photographs not only showcase the architectural beauty but also narrate the captivating stories of Khobar and Dammam's golden era. These cities, shaped by unique histories and American-inspired urban planning, reveal their distinctive charm through their design details.Fueled by his passion for architecture and preserving history, Omair launched "Bab Teeb". This project focuses on crafting miniature 3D-printed models of doors and facades, capturing the essence of Saudi homes from the 1970s and 1980s. The meticulous detail of these models has resonated with a wide audience on social media.&nbsp;In this exclusive interview with Ithraeyat Magazine, we delve into the world of the talented Omair and his forays into photography.

Doors, in their many forms, have always fascinated me as windows into history and culture. It is said that door handles are a way of shaking hands with the building, as the door is the first element that the user interacts with, and it is what welcomes people to the building. My particular interest in the mid-century iron doors of our region stems from a desire to shed light on an often-overlooked chapter of architectural innovation.These doors are not just functional objects; they are symbols of a bygone era, each with a unique story to tell. Growing up in Abqaiq, surrounded by these beautiful structures, I developed a deep appreciation for their craftsmanship and the cultural context in which they were created. It's worth noting that buildings from this period have been classified under the Modern Heritage Programme by UNESCO (which focuses on 19th and 20th century buildings), which has only strengthened my resolve to document and celebrate these doors as the treasures they are. They are tangible links to our past, and their preservation is essential for understanding the evolution of our architectural landscape.&nbsp;

1. We'd love to hear more about your photography of antique doors. What drew you to doors as a subject?

Architecture was my gateway to photography. During my studies, I befriended several photography enthusiasts and was fascinated by their fieldwork results. I learned technical and visual skills from them to improve my photography. This interest grew into a university photography club, which held several exhibitions and honed our skills over time.Architectural education emphasized analytical concepts and theories of building and form like symmetry, repetition, rhythm, harmony, and contrast. Understanding these principles greatly influenced my photo composition. Additionally, focusing on architectural perspective and shadows in projects was reflected in my choice of angles and lighting in photography.

2. Which came first, your passion for photography or architecture? How has studying architecture influenced your artistic sense?

Northern Khobar stands out as my favourite spot for architectural and street photography, as it’s renowned for its abundance of modernist architectural marvels. The winding streets, filled with diverse small shops, create a vibrant atmosphere perfect for endless exploration. Moreover, the traces of the passage of time in the area’s buildings add a unique character that photographers find irresistible.

3. Where do you most enjoy photographing, and what makes it special? Are there any lesser-known places you'd recommend visiting?

I always strive to capture in my photographs an aesthetic aspect of the subject that others may not find aesthetically pleasing in real life; things often passed by without much notice. This endeavour is about highlighting the architectural elements of that unique era and preserving what remains, as they are now an integral part of our architectural heritage.

4. Is there a specific message or idea you aim to convey through your photos?

"Bab Teeb" is a venture centered on crafting artistic souvenir gifts rooted in the essence of a location, showcasing architectural elements from the modern heritage era. The inspiration came from capturing images of buildings from that period, which elicited strong emotional responses on social media. By merging my passions for architectural photography and digital modeling, the concept of "Bab Teeb" came to fruition. It entails translating these architectural images into tangible products inspired by elements that resonate with the local community's collective memory.

5. Can you tell us more about your wonderful project "Bab Teeb"? Where did you get the inspiration for the idea?

My ambitions involve actively preserving our architectural heritage and infusing our distinct Saudi identity and rich culture into our designs, spanning from buildings to industrial products, across various scales.

6. What are your aspirations or future projects?

More pictures by Omair 

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Lens on the Door with Omair Al-Bishi

Forgotten, as if you never were. Like a bird’s violent death like an abandoned church you’ll be forgotten, like a passing love and a rose in the night . . . forgotten I am for the road . . . There are those whose footsteps preceded mine those whose vision dictated mine. There are those who scattered speech on their accord to enter the story or to illuminate to others who will follow them a lyrical trace . . . and a speculation Forgotten, as if you never were a person, or a text . . . forgotten I walk guided by insight, I might give the story a biographical narrative. Vocabulary governs me and I govern it. I am its shape and it is the free transfiguration. But what I’d say has already been said. A passing tomorrow precedes me. I am the king of echo. My only throne is the margin. And the road is the way. Perhaps the forefathers forgot to describe something, I might nudge in it a memory and a sense Forgotten, as if you never were news, or a trace . . . forgotten I am for the road . . . There are those whose footsteps&nbsp; walk upon mine, those who will follow me to my vision.&nbsp; Those who will recite eulogies to the gardens of exile,&nbsp; in front of the house, free of worshipping yesterday, free of my metonymy and my language, and only then&nbsp; will I testify that I’m alive and free when I’m forgotten!&nbsp;Translated from Arabic by&nbsp;<a href="https://twitter.com/FadyJoudah">Fady Joudah</a>: Palestinian American physician, poet, and translator.

Forgotten As If You Never We

The arts, including poetry, immortalize humanity... a crack in the nature of forgetfulness, a cornerstone in the memory of societies, and an act of resistance to the triviality of life. We write about life and death, love and sorrow, experiences and loss. We reminisce about what once was, and eulogize to pick up the broken pieces of our hearts.&nbsp;The Palestinian poet Mahmoud Darwish (1941-2008) lived a hard life. The days piled their challenges upon him, testing him with each step,&nbsp; and leaving their indelible mark upon his poetry. We see the impact of his reality of living as a Palestinian in general, and the illness in the last years of his life in particular, all of which&nbsp; shaped his experience.Death was not absent from Mahmoud’s poetry, but rather than simply being about death of the body, it was more about&nbsp; the soul’s resistance to this death; by enduring and triumphing over death. And this can only happen by resisting&nbsp; oblivion itself through the very act of poetry.&nbsp;Who would the poet be if his poems died? If the days erased his trace? In his poem (Forgotten, as if you never were), which was part of the collection (Don’t Apologize for What You Did) published in 2003, Mahmoud begins from the hypothesis that death is an incitement to oblivion, for everything that will be said has been said, and everything that will be written has been written, and life in its vastness is nothing but a vicious circle of repetitions... until he opens a new door to defining oblivion, since the poet’s freedom is only through his death in the eyes of others, so his life - anew - and then his freedom, are nothing but the products of oblivion.&nbsp; &nbsp;

Death, with its approach, turns the scales upside down, and when it passes, its sound makes many doors tremble! 

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Darwish between Death and Oblivion

The carpenter’s door is broken.

As far back as one can imagine, there has always been some form of barrier or another to protect us from outside forces (such as weather, or strangers), or to simply provide a sense of privacy.Be it doors, fences, walls, or even nets, the sense of ‘here’ versus ‘there, ‘access’ versus ‘no access,’ and ‘inside’ versus ‘outside’, creates interesting psychological dynamics of feeling protected versus feeling exposed to others and to the elements. Here, we are privileged to go back in time and explore the various types of doors created and designed to stand out and be identified, as well as keep places safe and guarded against theft and exposure. From carved wood to metallic mesh, the styles may have changed over the years, but their sole purpose remains the same - a gate that is both a barrier and a pathway between two places.&nbsp;

Enjoy these Aramco Rarities:

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When Doors Spoke 

The abandoned, the alone, the cracks, the curves, and the shadows all mesmerized me, and I had to capture them somehow and gently bring out the magic in them,

Abdul Qader Al Rais, godfather of Emirati fine arts who is known for his magical mastery of kaleidoscopic color,&nbsp; started his childhood in colorless poverty.“All you could find then was black, and maybe just a bit of blue paint,” recalled the man whose versatility with the paintbrush for almost 60 years created masterpieces of what can best be described as magical realism.&nbsp;“The abandoned, the alone, the cracks, the curves, and the shadows all mesmerized me, and I had to capture them somehow and gently bring out the magic in them,” said Abdul Qader.&nbsp;The artist would transform relics of architecture, such as an abandoned traditional window with flower carvings, a wooden traditional Emirati door with geometric symbols, a pearl diving or fishing dhow boat—once symbolic of the heart of the nation—and wind towers known as Barjeel, into magnificent dream-like pieces reminiscent of imagined settings from the mythical tales of the beloved Arabian One Thousand and One Nights. &nbsp;

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The colors, the obvious and the more hidden symbols, the letters, his famous ‘Noqta’ (dot), and the social and historical subjects; each artistic piece created by Abu Qader told a different story.The award-winning artist’s pieces are celebrated in people’s private homes, museums, foundations and institutions, government offices, and even on a Metro train greeting commuters in Dubai &nbsp;

“I want my pieces to inspire feelings, and they do inspire different feelings in different people.”

in a country grappling with simplicity, few buildings, and no properly paved roads. A gray period in unbelievable contrast to the colorful Dubai of today; a futuristic, vibrant emirate in one of the world’s richest countries.Around the same time, Europe was recovering from World War II, and the seeds of what would become the powerful European Union were being planted in the hopes of never returning to a devastating period of self-destruction. In many ways, Europe was cloaked in its own shades of gray and colorlessness as it recovered and rebuilt itself.“Back then, it was Kuwait that was the golden child of the region. It was there that I found my colors,” said Abdul Qader. &nbsp;

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The artist was born in Bur Dubai in 1951, 

It was the tragic loss of his father which took a 9-year-old Abdul Qader to live with his sister and her husband in Kuwait. Kuwait was thriving politically, economically, and culturally in the 1960s after its independence from Britain in 1961. Citizens and residents were welcomed, and young talents like Abdul Qader found support for his love of scribbles and colors.“I would get packets of colors and paint that were brought in from France,” he said. “I had access to whatever I wanted, and I believe if I hadn’t gone to Kuwait when I did, I probably would not be where I am today.”In Kuwait, he met other Arab pioneers in art and future founders like himself of different movements in art who were inspired by that pulsating hub for the creative and unique.Gentle in his demeanor, soft-spoken, and with a sparkle that never leaves his eyes, Abdul Qader calms and intrigues all who meet him.Perhaps part of this enigmatic persona is a result of his magical “hilm” (dream-like) interpretations of what catches his eye. &nbsp;

“I form a special bond with what I draw. It becomes an intimate relationship, private in its meaning, and expressed publicly in a certain mannerism after I get to know the subject of my piece very well,” said Abdul Qader.With hundreds of pieces of work, each with its unique story and relationship to the artist and to the period it was drawn, Abdul Qader's work is impossible to box into one category of art.Self-taught, his earliest pencil sketches capture a deep and sensitive child, one that often expressed loneliness through self-portraits of himself with a sad expression and almost glossy tear-filled eyes.“Yes, I was lonely, and I was longing for my home and my family back in Dubai,” he said. “I believe the other positive impact of being away from home is that it matures you, and makes you appreciate the little things in life.” &nbsp;

As he matured into a young adult, the details in his art grew along with him.Little birds in pencil came alive with watercolors, and faces of “imagined” girls and portraits of family members and friends in well-kept sketchbooks are an insight into a nostalgic soul, one who cherishes family, nature, and the concept of “home.”&nbsp; This universal longing each of us has for a home, a family, and a sense of belonging is a repeated underlying theme in his work.He is known for his colorful interpretation of the traditional Emirati doors, the first thing one sees when one arrives, as well as his interpretations of his Emirati and Arab identity through magical recreations of architecture and historic moments that shaped his life, as well as the life of his country and the region.“I wanted to preserve our heritage in light of booming construction and push for the new and the different in the 1980s and 1990s in Dubai and the rest of the UAE,” he said, whose works of art are now an important archive and record of past locations, monuments, and designs. &nbsp;

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One such lost treasure is the Al Otaibah Mosque, which was lost to development but forever preserved in its majesty by Abdul Qader’s paint brushes. Titled “If you give thanks, I will give you more,” the 2016 piece incorporates his signature abstract cubic forms along with a realistic, almost photo-like black-and-white capture of the current exquisite Sheikh Zayed Grand Mosque, a window into the future.“At the time, they were poor when they built Al Otaiba Mosque, and so they put everything they had into it. It was a remarkable structure full of character, and so I always go back to it in my memories and take the viewer back with me,” he said.&nbsp; &nbsp;

Abdul Qader calls great European masters like Leonardo da Vinci and Rembrandt “his teachers.” He also recalled the many hours he spent sketching da Vinci’s Mona Lisa and her “sad smile.” The more he explored, the more he wanted to have his own take on limitless abstract art.“I wanted an Arab touch to it, so that is when I started experimenting with Arabic calligraphy and Arabic symbols and subjects, such as trees that grow here or landscapes specific to the area,” he said.One of his most famous artworks involves Arabic letters, a collection called Hurufiyyat, where Abdul Qader conceptualized the deeper meaning a letter has in Arab culture. &nbsp;

“I started with the Waw as it is unique aesthetically, curved with a deep meaning of connection. It is the letter that connects one with the other,” he said.Meanwhile, the letter ‘Ha’ is like a “woman peeking from behind her burqa” (a face cover). Each of the Arabic letters has a personality in Abdul Qader’s art world.A sensitive man to the suffering and plight of others, Abdul Qader had also painted pieces capturing the crises of the time, the suffering of those at war and those under occupation, such as the Palestinian cause. At the same time, he depicts this region’s resoluteness in the face of great adversity.His first piece was sold in 1969. It was a portrait of Palestinian refugee boys and girls, whose anguish and pain were meticulously captured in their faces. It sold for 40 Dinars then (about 100 US Dollars), and was bought by a visiting European tourist and art collector.“It was a great honor for me to have sold one of my pieces, especially one that was created with prayers from my heart for the suffering of children of war,” he saidHe had moved back to Dubai in 1973, after the country united on December 2nd, 1971, forming the United Arab Emirates. He then joined the Ministry of Labour and earned a degree in Sharia (Islamic) law, where he would oversee disputes between laborers and employers and other issues. &nbsp;

At work, whenever he found a moment alone, he would draw, sketch, and paint. He became one of the first Emirati artists to dive into the wonderful world of colors and was a founding member of the Emirates Fine Arts Society in Sharjah. From 1989, he had a solo exhibition every year at the Cultural Foundation in Abu Dhabi, except for in 1996, when he had two.Winning many awards and recognition, there is, however, one particular date that is of great significance to him, that he beams into a big smile each time he remembers it: January 5th, 1995. “It was when I quit my job and became a full-time artist. It was the best day of my life,” he laughed.Whether he is commenting on the current state of affairs through his art, immortalizing cultural and heritage structures and elements, or re-conceptualizing Arabic letters, his canvases have become cultural ambassadors of the UAE.His artworks have been exhibited worldwide, including in Poland, Czech Republic, the United States, Germany, Kuwait, Saudi Arabia, France, and Morocco.“The late Founding Father of the UAE, Sheikh Zayed, used to say that all we have in our lives is a gift, and our land is a gift, and so we must always be humble and give back with an open heart,” said Abdul Qader. “And my gift in this life is the gift of art; the gift of colors that I gift to all.” &nbsp;

Enjoy more of Abdul Qader Al Rais artworks:

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Serenity of Doors & Sensitivity of Letters

I believe that learning about art – or material culture in the broadest sense – can contribute to how we place ourselves in the cultural cosmos of today. In the case of Colors of the City, it consciously embraces this cosmopolitan and multi-layered heritage, narrating a historical trajectory unique in the region. 

Rich with stunning imagery of historical buildings and gates, Design Doha’s Colors of the City exhibition tells the architectural story of Qatar’s capital over the last 100 years. The exhibition was curated by Glenn Adamson and Peter Nagy to include 3D models, films, photos, and interviews presenting the architectural transformations of the city, from before the discovery of oil and through to the arrival of global influences. The exhibition took place from February 24 to April 30 of 2024 as part of Design Doha, a biennale celebrating creativity in the region while focusing on Qatar’s design scene on the global stage.We take you on a journey to visualize the architectural transformation of Doha—with a special focus on its enchanting gates—through the words of the exhibition’s co-curator Peter Tamas Nagy. &nbsp;

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Colors of the City sought to constitute the local foothold within the cluster of exhibitions that opened simultaneously at M7, Doha. Its conception required a visionary like Glenn Adamson, artistic director of Design Doha Biennial, who wished to create a show specific to Qatari (architectural) design. Since my work entailed studying heritage architecture in the country, he invited me to participate. I still think he was overly trusting as I had no background in curatorial affairs – in other words, he threw me in deep water. I could devise a narrative based on my research at relative ease, yet the task of bringing architecture into a gallery space in a way that is visually pleasing and informative was entirely new to me.When I first drafted a preliminary checklist of what to incorporate in the display, it already included countless photos, architectural drawings, videos, 3D models, construction materials, art objects, maps, etc. I gave no easy task to the designer company Mind the gap, namely Karl Bassil, Carla Khayat, and Elie Mouawad. However, they dexterously created this visual experience where you follow the path defined by the hanging banners – displaying text, photos, and maps – while glancing at additional exhibits on the floor and the walls, always related to the information you encounter.

Tell us more about the exhibition and its story, the curation process, and how it came about.

This city has a history of two centuries, of which the exhibition presents the second. The display invites visitors to experience four trends of architectural and decorative design. It begins with traditional constructions from before the discovery of oil, which we display chiefly in the form of a 3D reconstruction of the&nbsp;<a href="https://www.youtube.com/watch?v=EnWPHRa-DZc">Old Palace</a>.&nbsp;Then, the focus is more on the early modern period, the 1950s and 1960s, when two distinct design principles manifested in the elite residences, respectively labeled Doha Deco and Doha Classicism. The colorful decorations of this period were both unprecedented and subsequently unfollowed, which also gave the idea for the title&nbsp;Colors of the City. Then, the decades following Qatar’s independence in 1971 set out for a new wave of international design principles, which we condensed in the section titled Doha Brutalism. &nbsp;These are the four trends highlighted in the historical part of the exhibition, followed by the contemporary part curated by Glenn. There, we decided to display a selection from the oeuvre of Ibrahim Jaidah and his company, Arab Engineering Bureau, who have made an extremely rich contribution to Doha’s skyline over the recent decades.

Can you talk a little about the phases that Doha's architecture has gone through as depicted in the exhibition? 

           

There were many. Although the research is still ongoing, I can say that the 1950s and 1960s was a particularly complex period in that regard. The two major findings so far are the artistic links with India and Iran.&nbsp;Regarding the former, it seems that the buildings presented under the label Doha Deco grew out of three registers of artistic elements: Art Deco, South Asian, and local. Chevron motifs and eye-brow ledges appeared alongside palm trees and falcons.&nbsp;As for the links with Iran, a group of buildings in and around Doha feature Classicist vases and tendril motifs, which were then also combined with Arabic epigraphy, bulbous rose flowers, and so-called&nbsp;aina-kari (or mirror work), which were typical of Iranian architectural decoration. Studying these elements opens a line of questions about the identities of those artisans who found employment in Qatar, where several members of the royal family and other wealthy patrons were keen to recruit them to beautify their homes.From the 1970s on, the architectural movements of international modernism also appeared in Doha, establishing a new standard of design. Driven by the motive to expand and modernize the city, Emir Khalifa bin Hamad invited renowned architects from around the globe to contribute to the new cityscape; various new landmarks from the period still align today along the Corniche Road. The key contribution brought in by the foreign designers was the most up-to-date construction techniques; the iconic Sheron Hotel applied a steel skeleton cladded in prefabricated concrete elements. Many architects also aspired to reinterpret classical forms of Islamic architecture in a modernized fashion, which we can witness most characteristically on the campus of Qatar University. &nbsp;

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What were the influences that affected the architecture of the city of Doha?

The entrance to a house is the main point of communication with the outside world, both physically and metaphorically. It is hardly an exaggeration that Qatari patrons considered the public entrance the most important part of the entire residence and, therefore, spent a considerable sum on their decorations, recruiting foreign artisans who knew how to impress visitors and passers-by alike.In several examples, even a modest house had an out-of-proportion portal with elaborate and colorful ornaments and lights. In a period when electricity was new to Qatar, countless portals incorporated light tubes and bulbs in their design composition. Those structures conveyed a clear message, in some cases ostentatiously showing off the owner’s riches.&nbsp;Although a semantical analysis of these gate buildings has yet to be carried out, it seems that a Qatari audience would interpret them as signs of respect and status, with little intertextual associations of the specific shapes and forms. This trend, however, disappeared already in the late 60s, presumably for social reasons: not everyone was happy with those showy gates. &nbsp;

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There are some very beautiful images of gates in Doha in the 50s and 60s. Can you talk to us about their architectural style back then? How are they different from gates or doors found in Doha today?

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