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Qiddiya Announces Pioneering Sports, Entertainment and Culture Stadium in Qiddiya City

Qiddiya Sign (file photo/Asharq Al-Awsat)
Qiddiya Sign (file photo/Asharq Al-Awsat)
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Qiddiya Announces Pioneering Sports, Entertainment and Culture Stadium in Qiddiya City

Qiddiya Sign (file photo/Asharq Al-Awsat)
Qiddiya Sign (file photo/Asharq Al-Awsat)

The Board of Directors of the Qiddiya Investment Company (QIC) announced the launch of the Prince Mohammed bin Salman Stadium, an iconic multi-use venue set to further enhance Qiddiya’s philosophy of the Power of Play. Upon opening, it is anticipated to host some of Saudi Arabia’s biggest sports, entertainment, and cultural events, SPA reported.
Located in Qiddiya City atop the breathtaking 200m-high Tuwaiq cliff and just 40 minutes from Riyadh, this futuristic venue is anticipated to become a must-visit destination. It aims to draw visitors from across the globe and revolutionize the traditional stadium experience with its immersive design and unique technological features, putting spectators at the center of the show, according to a press release from the company.
Commenting on the launch, Managing Director of Qiddiya Investment Company Abdullah bin Nasser Aldawood said: “Our ambition is for Qiddiya City to become a global destination for entertainment, sports and culture and this iconic new stadium will be at its very heart. The futuristic venue aims to reinvent the traditional stadium concept and embody the true spirit of Qiddiya’s Power of Play philosophy. It uses state-of-the-art technology and innovative, world-leading design to put the spectator at the centre of the experience”. He added, “It will become a bucket-list destination for fans and enthusiasts across the world, hosting major events from across the world of sport and entertainment.”
Designed by leading global architectural firm Populous, the stadium, according to the release, is set to be the world’s first fully integrated venue with a combined retractable roof, pitch and LED wall – an architectural innovation offering unparalleled versatility and allowing the space to transform into different ‘event modes” in a matter of hours. This LED wall will be a portal to live event broadcasts, high-definition films and laser shows, offering guests a novel, immersive experience with each visit. When not activated, it will open to reveal breathtaking views of Qiddiya City.
Guests will be able to enjoy multiple spectacles in a single day, including football, boxing, esports, concerts, and theatre performances to name a few. The stadium will employ cutting-edge technology to provide fans with instant access to live data and information including the use of state-of-the-art holographic technology, enabling virtual interactions with celebrities and stars.
As a central venue in an urban entertainment district, this uniquely versatile space promises an extended play experience with direct and convenient access to Qiddiya City’s vibrant Gaming & Esport District as well as other city entertainment options. Integrated into the city fabric through a variety of transportation choices including park ’n ride and drop-off zones, the stadium is also within direct proximity to 50,000 square meters of shopping, dining and entertainment spaces as well as hotel options.
Once open, the 45-000 seat multi-functional stadium will serve as the home ground of Saudi Pro League football clubs Al-Hilal and Al-Nassr and is one of the proposed venues for the Kingdom’s 2034 FIFA World Cup bid. It is also poised to host some of the region’s biggest sports events including the Saudi King Cup, the Asian Cup and possibly the 2034 Asian Games.
The venue will be able to host events all year-round in its climate-controlled facilities, where energy consumption will be reduced through an eco-friendly cooling lake built directly under the stadium. The lake will use rainwater capture from the stadium and the surrounding area to pre-cool the air conditioning system.
There will be an estimated 7.6 million annual visits to the stadium, playing a key role in Vision 2030’s targets for a vibrant society, a thriving economy, and an ambitious nation - driving tourism and creating jobs.
The announcement follows the Crown Prince’s recent unveiling of the transformation of Qiddiya and vision for Qiddiya City to become a global destination for entertainment, sports and culture focused on Qiddiya’s power of play philosophy.
The play concept leverages decades of research showing that play is vital for human cognitive development, emotional expression, social skills, creativity, and physical health. Studies have demonstrated the positive effects of recreational activities on society, their ability to bridge differences between individuals, and enhance levels of empathy and social cohesion.
The unveiling of the stadium follows the launch of Qiddiya City’s world first multi-use Gaming & Esports District. More announcements are due in the coming weeks.

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Japanese Poet Shuntaro Tanikawa, Master of Modern Free Verse, Dies at 92

Shuntaro Tanikawa, a Japanese poet and translator, speaks during an interview with The Associated Press in Tokyo, on May 25, 2022. (AP)
Shuntaro Tanikawa, a Japanese poet and translator, speaks during an interview with The Associated Press in Tokyo, on May 25, 2022. (AP)
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Japanese Poet Shuntaro Tanikawa, Master of Modern Free Verse, Dies at 92

Shuntaro Tanikawa, a Japanese poet and translator, speaks during an interview with The Associated Press in Tokyo, on May 25, 2022. (AP)
Shuntaro Tanikawa, a Japanese poet and translator, speaks during an interview with The Associated Press in Tokyo, on May 25, 2022. (AP)

Shuntaro Tanikawa, who pioneered modern Japanese poetry, poignant but conversational in its divergence from haiku and other traditions, has died. He was 92.

Tanikawa, who translated the "Peanuts" comic strip and penned the lyrics for the theme song of the animation series "Astro Boy," died Nov. 13, his son Kensaku Tanikawa said Tuesday. He said his father died at a Tokyo hospital due to old age.

Shuntaro Tanikawa stunned the literary world with his 1952 debut "Two Billion Light Years of Solitude," a bold look at the cosmic in daily life, sensual, vivid but simple in its use of everyday language. Written before Gabriel García Márquez’ "One Hundred Years of Solitude," it became a bestseller.

Tanikawa’s "Kotoba Asobi Uta," or "Word Play Songs," is a rhythmical experiment in juxtaposing words that sound similar, such as "kappa," a mythical animal and "rappa," a horn, that makes for a joyful singsong compilation, filled with alliterations and onomatopoeia.

"For me, the Japanese language is the ground. Like a plant, I place my roots, drink in the nutrients of the Japanese language, sprouting leaves, flowers and bearing fruit," he said in a 2022 interview with The Associated Press at his Tokyo home.

Tanikawa explored the poetic, not only in the repetitive music of the spoken word but also the magic hidden in little things.

One of his works is titled, "I wanted to talk to you in the kitchen in the middle of the night."

"In the past, there was something about it being a job, being commissioned. Now, I can write as I want," he said.

In every work Tanikawa tackled, including the script for Kon Ichikawa’s "Tokyo Olympiad," a documentary film of the 1964 Tokyo Games, the respectful love for the beauty of the Japanese language resonates.

He also translated Mother Goose, Maurice Sendak and Leo Lionni. Tanikawa has in turn been widely translated, including English, Chinese and various European languages.

Some of his works were made into picture books for children, and they are often featured in Japanese school textbooks. He also incorporated Japanese words derived from foreign origins into his poems like Coca-Cola.

In his prose poem with that title, in which a boy is opening a Coke can, he wrote: "If, for instance, he saw the infinite universe that started or ended at the tip of his can, he was totally unaware of it. One might be able to opine that he named every bit of the unknown about to swallow him with all the vocabulary he could muster, which included his future vocabulary that was yet dormant in his subconscious."

In his debut poem that catapulted him to stardom, he is more sparse:

"Because the universe goes on expanding, we are all uneasy. With the chill of two billion light-years of solitude, I suddenly sneezed," is the way the poem ends, as translated by William I. Elliott and Kazuo Kawamura.

When asked about it, Tanikawa acknowledged it felt as though someone else had written it, but noted he still thought it was a good poem.

"Tanikawa’s poetry reflects a metaphysical and quasi-religious attitude toward experience. In simple, spare language, he sketches profound ideas and emotional truths," according to the Poetry Foundation, a US literary organization.

Tanikawa was born in 1931, a son of philosopher Tetsuzo Tanikawa, and began writing poetry in his teens, circulating with the famous poets of that era, like Makoto Ooka and Shuji Terayama.

He said he used to think poems descended like an inspiration from the heavens. But, as he grew older, he felt the poems welling up from the ground.

In person, Tanikawa was friendly and unassuming, often reading in public with other poets. He never seemed to take himself too seriously but used to confess his one regret in life was never finishing his education, having dropped out amid stardom at a young age.

His relative isolation from the bleakly serious scholarly poetry scene of postwar Japan likely helped him take his free-verse approach that went on to innovate and define Japanese contemporary poetics.

Tanikawa said he wasn’t afraid of death, implying he perhaps meant to write a poem about that experience, too.

"I am more curious about where I will go when I die. It’s a different world, right? Of course, I don’t want pain. I don’t want to die after major surgery or anything. I just want to die, all of a sudden," he said.

He is survived by his son, musician Kensaku Tanikawa and daughter Shino and several grandchildren. Funeral services were held privately with family and friends. A farewell event in his honor is being planned, Kensaku Tanikawa said.

"As they did with all of you, Shuntaro’s poems stunned and moved me, making me chuckle or shed a tear. Wasn’t it all so fun?" he said. "His poems are with you forever."